The present painting is a remarkable example of work that reveals Hooshang Pezeshknia’s style, demonstrating his interest in representing social issues, hardworking people and the working class. His concern for people and ways of life appeared in his diverse works. This was especially evident during the 1950s when he went to Abadan and was hired by Iranian Oil Company. Difficult life of local inhabitants deeply touched the artist, as reflected in some of his portraits, including the present one.
It seems that lines and bright colors of these portraits scratch the surface of the canvas and dreadfully seek to reach the surface. The effects were such that Ibrahim Golestan called him “the illustrator of his motherland and people”. Portrait of people, who are Pezeshknia’s concern, is produced through his typical lines and crosshatches in this work. His expressionist approach has given birth to the portrait of a young and an elderly man in the form of a negative image with blue lines that have risen out of a black background. Although weary, there is a composure in their faces that does not necessarily indicate a favorable situation. In the same way as the black strains on the background, these docile faces can turn into alarming cries in an instant. It seems that the hand in front of the portraits speaks volumes. Indeed, the hardworking hands that draw attention of spectators signify the past hardship and determinism of the world. Perhaps Golestan, who met Pezeshknia in Abadan, can best describe his portraits,
“There is always an astonishment, dread, agony, stupidity, or idleness, in the portraits. Subjects are either rural people or workers of the oil company. He seems to have a desire for mountains and villages.”
Hooshang Pezeshknia was among the first artists who thought and practiced in a modern way. Line was a means by which he could both display and emphasize his subject. He learned painting from Kamal-ol-Molk’s students and audaciously went beyond principles of classic painting in search of new modes of expression.
 Ibrahim Golestan, Tamasha Magazine, 3 January 1973.