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خبر و رسانه

20    Houshang Pezeshknia (1917-1972)

List Of Lots

More Info

Art Title : Untitle

signature: “H.Pezeshknia 1959” in English (lower right)
gouache on cardboard
80 × 60 cm
executed in 1959


300 - 400 Million IRR

Price realized

1,600,000,000 IRR

About Art Work

When Pezeshk Nia introduced his alternative and ground-breaking approach to painting and drawing, the prevailing style in Iranian art scene was the realistic renditions by the practitioners of Kamal-al-molk school. Pezeshk Nia, on the other hand, applied strong and free brushstrokes, and used bright primary colours. He had a deep understanding of the expressive potentials of line, a vision which enabled him to convey the most profound feelings in his paintings. His fluent brushstrokes could render any simple and basic landscape into a magnificent illustration.
Although Pezeshk Nia has a unique and significant stance in Iranian modern movement, as Najaf Daryabandari states’ “he neither influenced nor got inspired by anyone else.” The small quantity of the surviving works as well as a distressed course of life made him a mysterious figure.
Many of his paintings, including Untitled 1959, might be considered coloured drawings. Major visual characteristics of this painting include a limited number of colours, the vertical and strong application of pigment, and the expressive rendition of an inherently passive subject. The image of three Dervishes might refer to a story with the same title in the One Thousand and One Nights.
Although Pezeshk Nia was one of the pioneers in modern art in Iran, unlike his counterparts he was not a graduate of the Faculty of Fine Arts, the University of Tehran. His orientation towards modern painting developed while studying in the University of Fine Arts in Istanbul. His choice of style and subject matter marks another notable difference. While Impressionism marks the first major confrontation with Western modern art among the first generation of Iranian modernists, Pezeshk Nia embarked on a passionate expressionism in rendering local and native subjects. The first local experiences in an expressive style are therefore to be found in his practice. His troubled life did not allow him to pursue the movement he pioneered. Otherwise the Iranian art scene might have witnessed a much more profound progression of his fervent, expressive idiom.