The Thames in this stretch is rowing club country. Albany Outdoors Rowing Club sits on a quiet bend that catches the early light well, which is why painters and rowers tend to know the same patches of river. Joshua's piece is one of those: a small, observed view of the water, the bank, and the architecture that punctuates the path. Rich brushstrokes, a soft palette, the layered approach he brings to every oil. The piece sits in his catalogue alongside the other small Thames studies that he tends to paint in the morning, when the river is still and the light is doing its best work. Oil on board, approximately 10cm by 14cm, signed by hand. Sold unframed.
Joshua LeaThe Thames in this stretch is rowing club country. Albany Outdoors Rowing Club sits on a quiet bend that catches the early light well, which is why painters and rowers tend to know the same patches of river. Joshua's piece is one of those: a small, observed view of the water, the bank, and the architecture that punctuates the path. Rich brushstrokes, a soft palette, the layered approach he brings to every oil. The piece sits in his catalogue alongside the other small Thames studies that he tends to paint in the morning, when the river is still and the light is doing its best work. Oil on board, approximately 10cm by 14cm, signed by hand. Sold unframed.
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.
