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SEVENTH EDITION

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CLICK HERE: SKELETON KEY to the SUICIDE of MY FATHER ROSS LOCKRIDGE Jr. AUTHOR of RAINTREE COUNTY

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                  FIRST PLACE

    High Road Gallery Exhibit, "Spice of Life," March 6, 2011 

FIRST PLACE, High Road Gallery Exhibit, 3-6-2011
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"Iceland:Parting at Dusk," acrylic and wax on canvas
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THE ENCHANTMENT, SEDONA, Oil&Wax on Canvas, 16x20
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OAK CREEK CANYON I, Oil&Wax on Canvas, 16x20
WEB SITE
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Acrylic on Canvas, 16x20
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Still Life is a contradiction in terms.  Nature is kinetic , overflowing with living designs.  By mimesis and imagination the artist participates organically in this ongoing creation.

 

Making art is a journey of discovery, an exhilarating treasure hunt.  My paintings aspire to serve as humble pieces in the Great Puzzle, and to provide a modicum of comfort and happiness.


I made my first paintings after receiving a set of Sargent oil paints in the brown corrugated cardboard box for my 8th birthday.  I'm author of five books, including three novels, HARTSPRING BLOWS HIS MIND, FLYING ELBOWS and PRINCE ELMO'S FIRE (published variously by New American Library, Signet Books, Stein & Day, Pocket Books, and Book-of-the-Month Club).  I'm the editor of TWENTIETH-CENTURY INTERPRETATIONS OF THE GREAT GATSBY (Prentice-Hall, 20 printings over 30 years).  My most recent book is the non-fiction TRAVELS WITH ERNEST co-written with my wife Professor Laurel Richardson and published in 2004 by Alta Mira Press in association with Rowman and Littlefield Publishers.  I was a member of the faculties of Yale University (1963-71) and The Ohio State University (1971-91) where I am Professor Emeritus of English.  Between teaching stints I spent a pleasant, productive year as a Fellow in the Center for Advanced Study, University of Illinois at Champaign-Urbana, writing a novel about a wild artist.  For decades I was a jazz musician, playing clarinet, and soprano, alto and tenor sax.  Painting is more than a little like improvising on a melody.

 

 

During 2007-8, my paintings appeared in a number of exhibits: at Worthington's HIGH ROAD GALLERY; the JungHaus (Columbus, Ohio); Columbus's First Unitarian Unitarian Church; the Dublin, Ohio, Art Fair; the Worthington First Methodist Church; the Arlington, Ohio, First Community Church; the Grove City, Ohio, Municipal building; and The Ohio State University's Northwood ArtSpace ("The Pet Show," July12-August 31, 2007).

 

 "Blue Eyes" won Honorable Mention at the High Road Gallery show "The Bare Essentials, Studies in the Human Form," October 3-27, sponsored by the Worthington Area Art League (WAAL).

 

 "Park of Roses," PEOPLE'S CHOICE AWARD Spring Anthem Exhibit

 

 "Lost in Iceland" and "Saffron Robe," OHIO STATE FAIR, July 30-August 10, 2008.

 

Solo Exhibits 2007-8:

 

1. "WINTER DREAMS," November 13, 2007-January 14, 2008, Worthington Community Center, sponsored by the WORTHINGTON ARTS COUNCIL.

 

2. "BURNING BRIGHT," Market Mortgage, Worthington, Ohio, February, 2008, sponsored by WAAL.

 

3. "SPRING FORWARD," Northwood ArtSpace, The Ohio State University, April 3-June 1, 2008.

 

4. "SUMMERTIME," The Ohio State University FACULTY CLUB, June 9-August 31, 2008.

 

5. "ARE WE THERE YET?" Gurnsey Bank, Worthington, July, 2008, sponsored by WAAL.

 

SOLO EXHIBITS 2009:

 

1. "ALL TOGETHER NOW," May 19-June 29, 2009," Worthington Municipal Center, sponsored by The Worthington Arts Council's Visual Arts Committee.

 

2. GALLERY SHOW: "CONVERGENCE," June-September, 2009, EUROPEAN PAPERS, Columbus, Ohio.

 

3. "NO COMFORT ZONE," Market Mortgage of Worthington, 330 E. Wilson Bridge Rd., Worthington, Ohio--Nov. 2009-April 2010

 

 

Solo Exhibit 2012:

 

SEDONA AND BEYOND, Worthington Community Center, February-March 2012

 

 

"Moon Rock" and "Out and About" provide the cover art for the books DEATH OF A FRIEND (2007) and ACCIDENTAL ETHNOGRAPHY (2008), published by LEFT COAST PRESS (LCoastpress.com).

lockridge.1@osu.edu


Note: I have linked to my "wonderful . . . tour de force" (Prof. James Phelan) "F.Scott Fitzgerald's Trompe l'Oeil and THE GREAT GATSBY's Buried Plot," JOURNAL OF NARRATIVE TECHNIQUE 17 (Spring 1987), 163-83. Though my essay--which brings forward that novel's Figure in the Carpet--has gathered increasing notice in recent years, the essay remains buried where JNT lies mouldering in the gloomy, dusty stacks, martyr to the mustard gas of Theory.  The essay, which takes its title from the visual arts, elucidates what Fitzgerald means when he writes that GATSBY is "a new thinking out of the idea of illusion."  Tragically, it's a novel that during his lifetime "nobody understood."

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OAK CREEK CANYON, Wax&Oil on Canvas, 16x20

CLICK HERE: "F. Scott Fitzgerald's Trompe l'Oeil and THE GREAT GATSBY's Buried Plot," THE JOURNAL OF NARRATIVE TECHNIQUE, vol. 17 (Spring 1987): 163-83.

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CLICK HERE: ABRIDGED VERSION, "AN OPTICAL ILLUSION CALLED THE GREAT GATSBY"

     
 
 
 
 
FIRST PLACE, "Double Take" Exhibit at The High Road Gallery, Worthington, Ohio--July 4, 2010.  "Real, actual, contrasting the ideal aspirations of advertising with the truth of the street.  Honest photo." Judge: Emeritus Professor Tom Hubbard, The Ohio State University School of Journalism and Communications.

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HOMELESS, San Francisco, June 12, 2009, photograph (Not Photoshopped or retouched)

                 THE BIG WHEEL ROLLS

                  TO THE FINAL STOP,

                  END OF THE LINE,

                  THE DREAM'S DRY BOSOM,

                   THE SAFETY NET,

                   THE LAST CALL:

                    "IT'S FOR YOU."

                                    E.L.

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OAK CREEK CANYON II, Oil&Wax on Canvas, 16x20
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OAK CREEK CANYON III, Wax&Oil on Canvas, 16x20

 
 
 
 
FIRST PLACE, Fall Exhibit, High Road Gallery, 12 E. Stafford, Worthington, Ohio, through Nov. 21, 2009.  "A tribute to painting.  The bold and deliberate use of texture and shape forms an unusual 'scape.'  This painting, deriving its title from a James Baldwin book, is textural--with a large T, and becomes a tribute to brush work, to painting.  As a judge I look to find technical prowess combined with uniqueness.  This painting presents originality and daring yet it is grounded in painterly skill."

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THE FIRE THIS TIME, acrylic on canvas, 24x36
 "And God gave Moses the rainbow sign: No more water, the fire next time." (Old Spiritual)
        "A gorgeous canvas . . . painted in Georgia O Keefe country in New Mexico, and in it masterful gradations of reds, oranges, browns, form a blizzard of tree foliage that nearly covers the side of a non descript ranch house.  The colors . . . are on fire, smouldering." Liz James ArtScene
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COURTHOUSE BUTTE, SEDONA, Wax&Oil on Canvas, 16x20
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JACK'S CANYON TRAIL, Sedona, Oil&Wax on Canvas, 16x20

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SAFFRON ROBE, acrylic on canvas, 24x36 (Private Collection)

  These magnificent Icelandic ponies were jammed together in a tiny corral at the edge of Gullfoss (Golden Falls) in Iceland. "The strangely elided and juxtaposed shapes of two big horses stand flank by flank, nearly fill the canvas, and create a study in design and color that is baffling.--As I recall, a splat of midnight sun, or perhaps a day time moon--is visible here.  And iconic white aurioles, sun-like splats, glimmer in other of Lockridge's paintings.--But you have to look.  The aesthetics of design and abstraction are present in LOST IN ICELAND.  Yet, the large truncated shapes of the two horses suggest something primitive and one cannot help but think of pre Norse myths and legends." Liz James ArtScene

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LOST IN ICELAND, acrylic on canvas, 28x38--NFS

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FORCE OF NATURE (Large Island, Hawaii), acrylic on canvas, 24x30

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RED WALL IN REYKJAVIK, acrylic and wax on canvas, 16x20

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BIRD'S-EYE VIEW OF MY BACK YARD, acrylic on canvas, 22x28 (NFS)

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BROKEN ARROW TRAIL, SEDONA, Oil and Wax on Canvas, 16x20
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DEEP WOODS, acrylic and wax on canvas, 16x20
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ANCIENT ROMAN THEATER IN ARLES, Wax and Acrylic on Canvas, 16x20
ALL TOGETHER NOW, Wax and Acrylic on Canvas, 16x20
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SEDONA RUNES, mixed
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WINDOW ON THE WORLD, acrylic and mixed, 11x14

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PENELOPE, mixed media, 11x14
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ARE WE THERE YET? acrylic on canvas, 24x30--NFS

"He is not afraid of color. His use of it although broad, is harmonious, meticulous . . . Yet his canvasses ...emit an electric charge." CLICK HERE to upload the Liz James ARTSCENE review of my Worthington Arts Council Exhibit "WINTER DREAMS"

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THE HONEY PATCH, acrylic on canvas, 24x24

 "Lockridge's chosen modus, wisely, tends toward the maxim that 'less is more' . . .  [This] foray into grids and pure abstraction is striking yet understated."  ArtScene

"PARK OF ROSES" (below) received the PEOPLE'S CHOICE AWARD, 2008 SPRING ANTHEM EXHIBIT, sponsored by the Worthington Area Art League:

       
                                                                    POWER TO THE PEOPLE!

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PARK OF ROSES, acrylic on canvas, 11x14 (Private Collection)
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APHRODITE, mixed media, 11x14 (Private Collection)

Please click on link to Simon&Schuster

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TRANSFERENCE, wax and acrylic on canvas, 18x22

CLICK HERE: "A Tragedy of Revenge Called THE SUN ALSO RISES"

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THE DEAF PARK, acrylic and wax on canvas, 16x20
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KAUAI, acrylic and wax on canvas, 16x20
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FOR ALL iI KNOW, wax and acrylic on canvas, 16x20
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FRONDS, acrylic and wax on canvas, 16x20

CLICK HERE: INCENDIARY INTERPRETATIONS of Hemingway, Fitzgerald, Ross Lockridge Jr. and others, by Ernest Lockridge

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HAVE SIGHT OF PROTEUS RISING FROM THE SEA, Acrylic on Canvas, 18x26--Private Collection

CLICK HERE: THE COLUMBUS DISPATCH, March 19, 2009

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SEDONA DUSK, acrylic on canvas, 20x26

This painting arose from an overwhelming desire for a world of pink, violet, amethyst and gold.

"The hues of SEDONA DUSK emit lavender-sagebrush-deep purple-fragrances--if you can see fragrances!" Artscene
 
"SEDONA DUSK enhances the mystical, magnetic effects of this spiritual location through complex monochromatic pigmentation.  The viewer receives information, sensation and light through the artist's energetic brush work." Elizabeth Chrisman, Judge, "Arts Alive in Technicolor,"Worthington Area Art League Spring Show, March 2010, High Road Gallery, Worthington, Ohio

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EN CAMARGUE, wax and acrylic on canvas, 16x20



Note also: My father Ross Lockridge Jr.s great American novel RAINTREE COUNTY--the cry of a mortally wounded spirit--has just been reissued by the Chicago Review Press.  RAINTREE COUNTY was the favorite novel of Jim Morrison of THE DOORS
 
 

http://RAINTREECOUNTY.COM

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CLICK HERE: "GRANDSON OF PALEFACE, SEDONA," from TRAVELS WITH ERNEST

     Why did my father Ross Lockridge Jr. commit suicide March 6, 1948, while RAINTREE COUNTY was America's Number One Bestseller?  The two biographies of Dad--an envy-driven hatchet-job with kid gloves, and a tedious shaggy-dog story--proffer solutions worthy of Doctor Watson or Colonel Hastings; the Freudian quackery of both biographies is quintessential Sid Caesar.  But in TRAVELS WITH ERNEST I unlock the riddle of Raintree County. I could dwell upon the mystery at length, but my act of witness "Grandson of Paleface" will do for now.

CLICK TO DOWNLOAD: CORRESPONDENCE regarding "SHADE OF THE RAINTREE, the Life and Death of ROSS LOCKRIDGE JR., author of RAINTREE COUNTY"

       "Your ms. lays out the central pattern of the relationship between RFL Jr. and Sr., but without sufficient weight or emphasis.  Its figure-in-the-carpet lies in the struggle that persisted throughout Dad's life to create an identity separate from the man whose name he bore and who tried from childhood on to obliterate him--making Dad his amanuesis, his ghost-writer, all-round employee, Junior, the One Chosen to take over and thus be ultimately subsumed by Senior's life.  RFL Sr. relentlessly dogged Dad to subordinate himself to those endless "projects."  Note well that Dad objected strenuously to the British edition of Raintree County's appearing without the "Jr."  RFL Sr. felt and acted as though he OWNED his namesake, and Dad had this [indentured servitude] to struggle against.  It's in your narrative, but buried--or off to one side, in the shadows.  At times it seems that you exert your greatest ingenuity in trying to dismiss any serious Dark Side to this father-son dance of wills (to de-Leggett your story? to douse in advance any possible ember of what you know I think?).  However ineffectual and diminished the Father may be as a person, he remains in some living part of the Son's mind a GIANT.  It requires no sexual dimension to understand how, in the end, giving himself over to the "smotherer" might contribute to the feelings of entrapment, powerlessness, worthlessness, and loss of self that lie at the base of Dad's suicidal depression."  E.L.

GROWING UP LOCKRIDGE

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INTO THE LIGHT, acrylic on canvas, 18x20 (Private Collection)
MORNING
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Wax on Canvas, 16x20
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TEETH OF THE LION, Was and Acrylic on Canvas, 16x20

TRAVELS WITH ERNEST
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CLICK HERE to Download DARTMOUTH PROFESSOR JAMES M. COX regarding TRAVELS WITH ERNEST

CLICK HERE: Regarding TRAVELS WITH ERNEST

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CONVERGENCE, acrylic on canvas, 20x24

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Cover Image for ACCIDENTAL ETHNOGRAPHY by Christopher N. Poulos (Left Coast Press 2008)

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CLICK HERE: from HARTSPRING BLOWS HIS MIND (1968)

My painting, MOON ROCK, provided cover art for the book, LAST WRITES, A DAYBOOK FOR A DYING FRIEND, by Laurel Richardson, published by Left Coast Press, 2007:

http://lcoastpress.com

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Laurel

Professor Laurel Richardson: http://sociology.ohio-state.edu/lwr

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BELL ROCK MIRAGE, acrylic on canvas, 18x24

CLICK HERE: from FLYING ELBOWS

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WHITE NIGHTS provides inter-textual design for the book LAST WRITES.  In the painting it's 2 a.m.:

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WHITE NIGHTS, ICELAND, acrylic on canvas, 24x36 (Private Collection)

      We stand on Race St. and look down Jew Lane, in the tiny village of Greeve, Tasmania.  The naming of "Jew Lane" appears to be lost in the mists of time, though the proprietor of a restaurant offstage right says, "I think maybe a Jew lived there once."
     "Lockridge's [painting] is grounded in his technical aplomb and in his familiarity with work of 'greats'--ranging from Sargent to Grandma Moses to Native American pictographs to the cave paintings at Chauvet.  On his artist's statement he says that he began to use his first set of Sargents (!) paints when he was eight years old.  Now he uses thickly applied paint and obvious brush strokes, like the Impressionists did.  He is not afraid of color.  His use of it although broad, is harmonious, meticulous.  The tall BURNING BUSH, TASMANIA, seems about to explode with raw color and linear shapes."  ArtScene

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JEW LANE, TASMANIA, acrylic on canvas, 30x36
My wife Laurel, whose father was Al Capone's attorney in the 1920's, lived as a child in this Chicago building, whilst in the building across the alley resided an entire tribe of Gypsies.  She and her childhood pet mutt Happy look apprehensively down at Mimi--our pet Abyssian Red--who rules the alley, and the world.
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TWO WORLDS, acrylic on canvas, 30x36 (NFS)

CLICK HERE: from PRINCE ELMO'S FIRE. Also, MARK SCHORER's letter to me

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 "Lockridge has mastered the elements of composition and color.  Yet, his canvasses manage to shimmy, to emit an electric charge.--It's brush strokes in motion!  This is true of TIDAL POOL, YUCATAN, in which a very small man in red trunks swims his way thru huge sheafs of white water toward the opening crevice that might suggest the birth canal.  Lockridge's paintings are all somewhat abstract, yet his majority of them include elements of the representational.  The swimmer in red trunks is a swimmer in red trunks!"

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TIDAL POOL, THE YUCATAN, acrylic on canvas, 24x38 (NFS)
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By Design, acrylic on canvas, 18x20--(Private Collection)
Questions or comments? You can send me e-mail at:lockridge.1@osu.edu