Generic selectors
Exact matches only
Search in title
Search in content
Post Type Selectors
Filter by Categories
August 2021
Dec 2023
Jan 2018
Jan 2019
Jan 2020
Jan 2021
Jan 2022
Jan 2024
July 2019
July 2022
July 2023
Jun 2018
خبر و رسانه

85    Houshang Pezeshknia (1917-1972)

List Of Lots

More Info

Art Title : Father and Son

Signature “H. Pezeshknia” in English (lower left)
pastel on cardboard
100×70 cm
Executed in late 1970s


600 - 800 Million IRR

Price realized

1,600,000,000 IRR

About Art Work

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.”[1]

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.

[1] Ibrahim Golestan, Tamasha Magazine, 3 January 1973.