Joshua Ebatarinja, had a short career, producing some of the most lyrical paintings of the Hermannsburg School. He created gently romanticised scenes of country from his wife’s country of Haasts Bluff, out west of Hermannsburg, to Mt Gillen near Alice Springs.
Joshua was nurtured in the creative Ebatarinja family. He was the son of prominent career artists Walter and Cordula Ebatarinja and future artist Desmond was a brother. He was finding his own way creatively. Joshua’s paintings were not as dramatic as those of his father, Walter, but they showed some of the idealisation, boldness and delicacy of both parents.
He did not pursue a system of complex patterning like his older cousin Arnulf Ebatarinja, born 1931.
Joshua used unobtrusive traditional infill of dots in his romanticised compositions. Joshua may have started to paint around 1960 and was at his busiest between 1964 and 1971.
Sadly, Joshua died aged 33 and thus a huge potential was not achieved. It was sad for the future of the Hermannsburg School that the lives of Joshua’s talented contemporaries Gabriel Namatjira (1942-69) and Trevor Pareroultja (1941–83) were also cut off in their prime. Joshua painted seriously from around 1960. He is represented at the National Gallery of Australia, Araluen and Museum and Art Gallery of the Northern Territory at Alice Springs.
He was Western Arrernte, Subsection (Skin) Perrurle. Joshua married a Kukatja woman, Clarice (born 3.2.1946).
In the Census of Wards of 30 June 1966 Joshua was at Number 2 Artists Camp in Alice Springs and his wife and three children were reported as being at Hermannsburg. Also at the same camp were Maurice, Arnulf, Claude and Rosina Pannka and Enos and Ruby Namatjira. Alice Springs had its attractions for artists after alcohol became available. 
Haasts Bluff, near Papunya, was the subject of many of Joshua’s paintings. In 1971 Geoffrey Bardon saw Joshua and Keith Namatjira selling their paintings at Papunya canteen.