Elliott Elgart chooses to paint the world of do­mestic activity that surrounds him: Sarah in Sunlight, Woman Ironing, Woman With Ham Sandwich, Seated Man, Interior With Two Figures. They are large canvases for the most part, most often conceived with a quick brushing. The tonality tends to be low except where sunlight breaks into a darkened interior or where areas of bold color arbitrarily maintain themselves, countering all illusion of depth that is implied in the linear perspec­tives. Throughout the several canvases there are many passages of good painting, of form articulated with a mini­mum of effort, of brilliant effect. Yet, as total units, the works are disappoint­ing. Elgart seems to be more interested in technical freedom as an end in it­self than in the image or in the resolu­tion of any organic wholeness of the composition. There is no real involve­ment of the artist. There is only a care­less concern for the empty mediocrity of living.

––Constance Perkins