Masadi considers a painter as an idealistic person who tries to create his ideal world in his dreams. But he also says that the things that happen to us every day are not separate from society.

On his return, the war and its effects occupied the mind of Manouchehrmatbar and created works that represent his view of the era of holy defense and the consequences of the war. Ali Asghar Qarabaghi, a critic, says about his works: “Motbar tries not to have a narrative form as much as possible in his works, but since interpretation is an inseparable part of his schemas, each of his designs and figures also carries a kind of mysterious narrative feeling. The people he portrays have dramatic ability.

When he portrays people, he puts his finger on separation from people, and the feeling of loneliness falls on his designs like a heavy shadow. The viewer does not know if he is dealing with a thinking person or with a depressed and defeated person. In a world where every hour thousands of people die due to political and social events or are forced to submit to absenteeism and emigration, the display of such images does not inspire astonishment. By choosing the dominant black color in his paintings and the absence of other colors, the author emphasizes these absences and emigrations in a symbolic way.

Manouchehr is known by many as a designer. He says: “I started designing very seriously from the first year of the second year of the Faculty of Fine Arts and I am still pursuing it today. It is on this basis that most of my works include design. In school in New York, I was also very interested in human design. I taught this design in colleges and conservatories. I am fascinated by design. But I follow the design technique with a modern look and I tried to find a way to a new and modern design. Based on this, I believe that artistic work should be the work of the day, in addition to the fact that the artist should be behind his work.

The authoritative Manouchehr believes about design: “Design itself is an immediate art that alone can express its meaning; In fact, drawing is a subject that can understand itself separately from painting.

However, Qarabaghi ​​says about the authentic technique in creating the work: “I have given the name of sketch to his works because his works are neither painting nor drawing. The tool of his work is line, something that does not exist in nature, but it is considered the oldest tool of visual arts. Design is description and painting is description. The presence of color in authentic works is considered as a measure to attract the audience to the space of his works. He does not use color to process the volume.

Mohammad Ebrahim Jafari, one of his classmates and reliable friends, also says about him: “Motabar was the first person who made us realize that you can go out of the studio to design and design in the streets and alleys.” Authentic uses drawing and line more than painting and color, hence defines more than description. The presence of more or less color in his paintings is to emphasize the darkness and blackness. In most of his works, he uses line and drawing to express the image.

According to Qarabaghi, a memorable and heavy silence can be seen in most of his works. This positive silence can only be heard in isolation. Watching his works, the viewer feels as if he is watching a sequence that is full of excitement and apprehension, and glimpses of hope can be seen in it: “The master expresses his thoughts without using color, and the use of black, white and gray colors in his paintings shows the design of the species. Authentic work makes sense with people. Human anatomy is the center of his subjects and his paintings are recognizable even without a signature.

He has great respect for the artists before him and has come to the point that an artist without knowing the past will not have a way to the future. On the other hand, he is aware of being influenced by different artists and has never imitated them. He uses reality to create a work, but his works are not realistic. He evokes the feeling of confronting the reality in people and has achieved a personal way in expressing the facts.

“When I was a student at the Faculty of Fine Arts, I didn’t expect to get here,” says Masadi about his work style. At that time, modernism was everywhere and everyone was trying to leave avant-garde works. But I tried to start from the beginning. To know Rembrandt, to know the design and color and the basis of the work. The atmosphere of the College of Fine Arts was impressionistic. Everyone was looking for things that became popular after the renaissance, our teacher was Ali Mohammad Heydarian and he looked at design very seriously, he is one of the best designers and painters of our time. But the general atmosphere of the art community was such that they valued the work of 20th century artists more. When I was studying at the university, I decided to sketch people outside the college. From the community and the movement of people. 40 years ago, working in public places on buses and sidewalks required courage. I had heard that designers do the same thing in France, I wanted to popularize social momentary design in Iran”.

He is a fan of Rembrandt and this fascination is well visible in his designs. In his youth, apart from Rembrandt, he was fascinated by Toulouse Lautrec’s drawings and paintings. Forty years ago, the famous Manouchher took his canvas to the streets so that he could draw directly and, as he said, make people’s faces with a pencil and without a pencil.

The chair is one of the fixed elements of authentic paintings. More empty seats that prompt the mind to think about someone who is absent. Has it been here before, is it gone and won’t come back or will it come back?

He criticizes and pathologizes the obstacles to the development of art and its education in Iran and says: “There is no proper understanding of design here. I dare to say that 90% of art students have not studied art history, just as young people in the field of literature want to write new poetry without understanding Hafez and Saadi. Basically, our people don’t take art seriously, just like they don’t take other issues around them seriously. Design is like planning. Planning to organize the scene elements of a tableau. But no one pays attention to it. Serious investment in the education sector is one of the most important issues that must be considered; In addition, more books and magazines should be available to art students; Of course, the use of expert professors who are knowledgeable about the latest art education methods in the world for the continuous education of students is another issue that must be given special attention. Despite the fact that our young artists have a lot of talent, but their studies in specialized areas of art are very few; This is despite the fact that you cannot become an artist without enough effort and intelligence!

About the conflict created between traditionalist art and modernism, Manouchehr says: “We cannot separate from tradition and at the same time innovate with creativity while we are in tradition. If we can present a new perspective in this framework, the conflicts will disappear. We don’t have more than a few decades of experience in what is called visual art and the visual language of today’s world. Anyway, the beginning of this language is from Europe. Iranian art, such as Iranian painting, miniatures, and icons, have more of a decorative aspect than an academic aspect like what is associated with a 500-year-old background in Europe. The painting belongs to Europe. What was and is being taught in the Faculty of Fine Arts is the universal visual language. In painting, we unconsciously try to imitate, for example, we see the work of Picasso and then we want to work like him, while we don’t pay attention to the experiences and artistic records that an artist like Picasso left behind.

He also considers the surrounding and social and political factors to be very effective in the formation of artistic trends and believes: “The political and social turmoil of the country has acted as an obstacle for Iranian artists since the beginning of the constitution and has pushed many into the abyss of decorative art. A decorative artist cannot bring the audience with him because his works are devoid of a deep mental attitude. On the other hand, there is a group of artists who avoid presenting decorative works. To create a work of art, an artist needs an individual worldview and must examine and analyze the issues and currents of the society around him through the lens of personal wisdom. This artistic approach has been established since the advent of modernity in the world, and important works such as the portrait of Mona Lisa have been painted on this basis. In order to create a work of art, the artist must have freedom of expression so that he can reflect the environment around him using his mental lens.

The prestigious Manouchehr has had 28 individual exhibitions and 20 group exhibitions since 1342.

A selection of four decades of works by Manouchehr, a veteran painter and designer, was displayed at Ariana Gallery on July 6, 2014. This exhibition, which included 94 paintings and designs, monitored the works from 1355 until now. Masadi says: Although my works have not changed much in terms of structure over the years, the traces of time can be seen in them; And it is clear that they have emerged under the influence of the society’s conditions in a specific and referable time.