For a long time, fine arts in Iran have had almost no connection with the general public, and as a result, it was economically dependent on powerful institutions and patrons. After visiting Europe and learning about the role of fine arts in the everyday life, Iranians started thinking about the culture of collecting, and they gradually opened a space for art in their daily lives. Collecting art had both negative and posetive effects on art at the time. As a result, a taste was formed through financial support, a new side-direction which had also influenced the dominant art trends. We should notice that, these supports were not done directly; They were done through establishing charities or schools, which led to promoting art or train artists towards the tastes of the Patrons.

In the history of Iran's modern art, supports were done in other forms, but again the economical side of practicing art was dominant on the art scene and played a decisive role. During this period, the government, foundations, charities, endowments and associations were among institutions that played a key role in supporting art. This happened not only in Tehran but also in others cities too.

In the 4th issue of the Poosheh's quarterly magazine, the disscussions are based around the "Art Patronage and Painting" in Iran, which you will read a short abstract of the articles included in the following.