Abolghasem Saidi is one of the prominent figures of the second generation of Iranian modernists. He is known for his poetic paintings of blossoming trees; Which are more lyrical abstracts in style. Saidi learned the basics of painting from Artush Minasian. He then moved to France and studied art at the Beaux-Arts de Paris. After graduating, he settled in the western part of France and continued his professional activities.

Saidi participated in the second Tehran Biennale in 1960 and won the award of this artistic event. His works were also praised by the judges in the 5th Tehran Biennale and he won the Grand Prix of the Biennale. Abolghasem Saidi was a member of the "Group Five", which was formed by Bahman Mohasses, Sohrab Sepehri, Parviz Tanavoli and Hossein Zandehroudi and in its short period, organized two collective exhibitions in 1967 at Shiraz Art Festival and in 1968 at Goethe Institute in Tehran. Saidi’s works have been showcased many times in solo and group exhibitions inside and outside Iran.Abolghasem Saidi's first appearance in the auctions dates back to November 2007 at the Christie's Auction House.

Saeedi's career can be divided into several distinct periods in terms of style. In the first period of his career, he painted in the Impressionist style, but after immigrating to France, under the influence of the "human-witness" group, he changed his style and adopted a realistic style. The "human-witness" members were young French painters who, in defiance of existentialist tendencies, defended social realism and rejected the prevailing abstract tendencies. The painting "Young Widow" is one of the outstanding works of this period, which in 1959 won him the Young Painting Salon Award. The cold and dark colors of this period in his paintings depict a bitter and sad atmosphere.

After this period, humans gradually leave Saidi’s frame and give way to nature and trees. The sadness and gloom of the early period of his work are replaced by bright and cheerful colors. The whip, fluid, and rhythmic lines he uses to draw the branches of trees are indirectly inspired by the calligraphies in his contemporaries. Saidi has an ornamental behavior in depicting the blossoms of trees and uses a circular motif of cheerful and bright colors. On the one hand, this quality is rooted in the decorative properties of Iranian paintings, and on the other hand, it is associated with the modernist features of "Art Nouveau". Ruyin Pakbaz writes about this: "Fruitful spring trees with branches bent to the sky or bent to the ground, in their rhythmic twist, announce the greatness of life force. Light is everywhere and dissolves volumes and distances. "Shapes take on calligraphic order and colors shine like jewels."

In the next period of his works, Saiedi distances himself from this happy and lively atmosphere. In Pakbaz's words the trees in his later works are: "not a manifestation of the passion of prosperity but of a mysterious moment of silence." "His work grows in silence, in contemplation, and in the sobriety of colors with an incredibly beautiful harmony," writes Guy Vinio, an art critic, on the occasion of showcasing Saidi’ works in Taylor Foundation. "That is how the sense of a conscious artist depicts the freshness of his beautiful talents in enduring forms, in a pure way like the rising of a sun."