Arman Yaghoobpour is closely associated with landscape painting. A painter, researcher, and educator with a modernist approach, he was born in 1970 in Borujerd, Iran. He received his BA in Painting from the Faculty of Fine Arts, University of Tehran, and later completed his MA and PhD in Art Research at Tarbiat Modares University. He subsequently joined the faculty of the Art Department at Neyshabur University as a full-time academic member.

Yaghoobpour held his first solo exhibition in 2013 at Golestan Gallery in Tehran, where he was recognized in the same year as the gallery’s best-selling artist. His second solo exhibition, titled "Matrix", was presented one year later in collaboration with Mah-e Mehr Institute. Since then, his works have been shown repeatedly in solo and group exhibitions across Tehran and various other Iranian cities.

As noted above, Arman Yaghoobpour is primarily recognized as a landscape painter. Natural vistas—such as grasslands, rows of poplar trees, and rural textures including mud-brick domed houses—constitute his favored subject matter. The defining characteristic of his practice lies in his handling of paint as matter. He applies color in dense, corporeal masses, constructing the pictorial surface through successive layers of thick pigment. The recognition of the material and physical presence of paint as a central concern was one of the key achievements of modernist painting. Manouchehr Yektai was among the first Iranian painters to grasp the significance of paint’s materiality and to integrate it decisively into his work. The influence of Yektai’s painterly gesture and approach is clearly evident in Yaghoobpour’s practice—manifest not only in his treatment of paint, but also in his approach to perspective, his minimalist tendencies, and the dominant presence of white across the canvas surface.

Landscape and trees constitute the core subjects of Yaghoobpour’s work. Responding to the question of why, despite countless depictions of trees throughout art history, each artist’s representation remains distinct, he explains: “The answer lies within the question itself. Each of these works possesses its own particular appeal. Every artist presents the tree from their own worldview. In Davood Emdadian's work, the tree embodies the grandeur and sublimity of nature; in Hossein Mahjoubi’s paintings, it evokes an idealized, utopian world. It is the artist’s mind that generates this attraction. The tree is merely a pretext—one climbs through its branches to arrive at the artist’s world.”

Regarding the visual sources of his paintings, Yaghoobpour notes: “Many of my works are mental constructs, yet this mental imagery is shaped by images of nature stored in my memory. At times they may recall a specific region, but my intention is not to render a particular place or to produce a literal depiction of a real location.”