Abstract
Abstract In an interview, the Iranian painter Ahmad Esfandiari (1922–2012) related that he witnessed a particularly difficult time at the beginning of his career, when he did not know what direction his work might take. Slowly he overcame this fear of the unknown and discovered ‘the pleasure of uncharted paths’. But the critics did not see any social value in his work (Mojabi 1998: 155). In his testimony, Ahmad Esfandiari described the tumultuous 1940s, during which an innovative pictorial style called ‘New Painting’ appeared in Iran. Contrary to popular opinion, contemporary Iranian painting did not begin in the 1960s with the Saqqakhaneh group of artists. Its origins can be found in the 1940s. In this article, conceived as a manifesto, I introduce the first generation of New Painting artists and I argue against a canon that has overlooked them in spite of their innovative accomplishments and profound impact.
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