In this landscape painting of the late Mahmoud Javadipoor, infinitude, uniformity, and mesmerizing perspective of the work are what impress spectators at first glance. Gold color of farm and dazzling yellow color of an exaggerated sun relate the story of a hot summer noon. The artist is showing a huge, thick farm in the picture, and is defining a borderline between the earth and sky by illustrating scattered small houses and a green single tree. The greatest share of the painting is dedicated to the bright smooth sky, thus making the sun appear so glowing. Depiction of the sun on the left, hence destroying symmetry of the work, indicates taste of the artist and his liberty in breaking the rules of composition. Billowy lines of the wheat field finally find peace and stability at the end of the landscape, a peace communicated to spectators.
When Javadipoor enrolled in the newly-established Faculty of Fine Arts, heritage of Kamal-ol-Molk School as well as landscape and Naturalist painting was still dominant in the faculty, on the one hand, and modern art had spurred interest in many students, on the other. Nevertheless, what is most obvious in the work of Javadipoor and artists of his generation is the use of colors as well as a climate of Persian painting, even though they were exploiting a modern expression and a different atmosphere.
The story that Javadipoor recounted with regard to a period of life when he lived in the US, clearly shows how this work was produced. Indeed, he traveled to the US for a research and study opportunity before the Islamic revolution back in 1976. In addition to visiting museums and art centers, Javadipoor painted a number of landscape paintings, including this one, with a different flavor. Landscape paintings that Javadipoor produced in the US are often characterized by a vast, peaceful setting. Projected lines, color spots and strong brushstrokes of his past work were replaced by smooth brushstrokes and pale shades of light. He explained, “Large, empty space of the works I painted in the US showed the landscape outside the town and space opposite the house I was living in. There was a large corn field opposite the house, behind which there were several buildings and trees. A vast plain with an endless sky above was in view beyond it, and no mountains existed in between to block the view.”
In addition to natural beauties of the work, the story behind it doubles the enjoyment of looking at it. It is a rare, good fortune of the art history that an artist is giving an account of creation of a specific artwork. It is both a historical reference and a persuasive account for potential buyers.
Javadipoor has portrayed landscape paintings in different periods. Young Javadipoor got a job at a mine in Anarak, Naeen, and this was probably the first time natural landscapes grabbed his attention. During his leisure time in this period, Javadipoor created diverse works using rocks, earth, mineral deposits, and other natural materials such as wood and interwoven tree roots. He has created landscape paintings over decades, of which the present work is one of the most notable ones.
 Moorizinejad, Hassan, Iranian Contemporary Painters: Mahmoud Javadipoor, Tandis Biweekly, No. 66, 2005, p.5.