Don Perlis

In another period Don Perlis might have been dubbed an eccentric - an artist of obvious gifts. Originally introduced at the Whitney Museum in 1970, Perlis has been exhibiting figure paintings for many years. Although best known for his paintings of people, either clothed or nude, in narrative situations, he also paints portraits, still lifes and landscapes. Balthus is certainly an important influence, also possibly Delvaux.

Don Perlis's opera pictures are grand performances, striking in the contrast between the figures and the stage settings, which offen seems to have a life of their own. There's quirky power and ironical intensity to Perlis's paintings, underscored by his dramatic use of traditional devices: drapery, columns and ingenious incorporation of Old Master references, especially in the pictures within the Tosca picture. Most operas deal with the troubles of love and betrayal of trust, sometimes ending in suicide. Perlis focuses on such moments. Sexual desire, and the trouble it can get you into, is a perennial theme of life and art. Tosca appeals to the Virgin Mary for help with her problems. The nun - another virgin - who walks away suggests that her appeal is in vain. Perlis's works deal with humiliation, a common enough human condition.

Apart from their psychological astuteness, and peculiarly tragicomic aura - we know that art is an act, however much the operatic act is about real life experience - Perlis's works are brilliantly orchestrated on a formal level. The blues and the reds in Don Giovanni - a Comic Opera one might recall, ending in tragedy - are in eloquent counterpoint, as are the grand triangular Shapes of the women's clothing.

Perlis's paintings are grand opera as cunning critique, and remind us that a painting can be a total work of art as much as any opera. One hears the music in the background of Perlis's paintings: visuell art can appeal to more sense than one.