The artwork presented here clearly indicates that we must consider Manouchehr Yektayi among poet painters. Rebellion of color and an uproar of brushstrokes is producing poetry in this painting. His abandoning the Faculty of Fine Arts and academic study of painting was the only understandable act of precipitous frenzy he committed. Nonetheless, the evolution of his experiments later happened at École des Beaux-Arts, Paris, under supervision of an artist such as Ozenfant.
This fine work of art is among the best creations of the artist, clearly indicating that Yektayi escaped any type of form, and avoided Iranian manifestos and categorizations in his efforts to find his way toward global Modernism. These efforts yielded results and Yektayi, as an Iranian artist living away from Iran for more than half a century, was raised to a status, albeit not so remarkable, in the school of New York painters.
Formality and enticement is usually absent in such paintings of Yektayi. These works indicate a kind euphoric and faded world. On the whole, he portrays happiness and subtleties of our world. Although he is practicing a new method, he is not totally oblivious of Romanticism and joyous moments of life. Yektayi’s interest in bright, vivid colors suggests his calm spirit. Colors are often applied on marble white surfaces. Thus he achieves the greatest effect of color on canvas by minimum brushstrokes.
