Reflection Analysis of Left Discourse in Iranian Contempo-rary Painting in the 40s and 60s With an approach to Michel Foucault’s views

The entrance of modern thought from the constitutional era and the spread of leftist discourse, which promoted social commitment in the literary and artistic works, led to developments in modernist Iranian painting during the Second Pahlavi era. The purpose of this study is to investigate the influence of left discourse on the form and content of paintings and to analyze the reasons for the lack of development of artistic tendencies of this historical period as an influential tendency in modernist Iranian art. The theoretical approach of this paper is based on the concept of power discourse in Michel Foucault's views, the method of descriptive-analytical research and the meth-od of collecting information through library method. According to the research, leftist artists, despite the social content in their works, due to components such as domi-nation of modernism discourse, lack of coherent art form, thoughtless modeling and without any intrinsic relation to our cultural-insights and sometimes an incomplete un-derstanding of the meaning of commitment in art, the external commitment for artists to create works with political and social content that contradicts the concept of com-mitted art - the most important of which is the artist's inner and emotional obligation without external pressure - led to lack of connection of works with the audience of the era, and eventually this discourse did not become a lasting and influential style. These artists presented social themes in a variety of approaches, such as the use of imitation styles of Western art and another of the stereotypical style, which was a raw imitation of Soviet realist artists. But perhaps one of the most important achieve-ments of leftist discourse was to direct the critical art that demand the ideals of justice and maintained its influence for a long time in power discourse.