Norbiton sits on the eastern edge of Kingston upon Thames, the kind of suburb that most landscape painters would walk straight past in daylight. Joshua painted it at night, which is when it becomes interesting. Empty pavements, the soft hum of late evening, streetlights catching on shut windows. The palette is restrained. Subtle tones for the buildings, a low glow for the lamps, the rest given over to the particular blue that the sky takes on once the working day has ended. It is closer to a Whistler nocturne in mood than to a daylight Thames scene, even though the river is only a short walk away. Oil on board, approximately 14.5cm by 21cm, signed by hand. Sold unframed to leave the mounting open to you.
Joshua LeaNorbiton sits on the eastern edge of Kingston upon Thames, the kind of suburb that most landscape painters would walk straight past in daylight. Joshua painted it at night, which is when it becomes interesting. Empty pavements, the soft hum of late evening, streetlights catching on shut windows. The palette is restrained. Subtle tones for the buildings, a low glow for the lamps, the rest given over to the particular blue that the sky takes on once the working day has ended. It is closer to a Whistler nocturne in mood than to a daylight Thames scene, even though the river is only a short walk away. Oil on board, approximately 14.5cm by 21cm, signed by hand. Sold unframed to leave the mounting open to you.
Joshua paints British rivers in oil, the Thames mostly, with a few weeks each year on the Solway coast. The light he chases is the light Constable chased: dusk along Pen Ponds, morning on the towpath, the moment the tide turns at Teddington Lock.
Joshua paints British rivers in oil, the Thames mostly, with a few weeks each year on the Solway coast. The light he chases is the light Constable chased: dusk along Pen Ponds, morning on the towpath, the moment the tide turns at Teddington Lock.
