Ahmad Esfandiari stands as a pioneer among the first generation of modern Iranian painters and holds the distinction of being the inaugural graduate from the Faculty of Fine Arts in Tehran.

During his formative years, Esfandiari received tutelage in painting under the guidance of Ali Mohammad Heydarian. He belonged to the second cohort of students at Tehran University of Fine Arts, where he pursued painting from 1941 to 1947. His debut in the art scene occurred at the Tehran Fine Arts Exhibition in 1946, followed by participation in the group exhibition of the Iran-France Association in early 1949, showcasing his works at the Apadana Gallery, Iran's inaugural private gallery. Additionally, he exhibited at five Tehran Biennials from 1956 to 1966 and accumulated teaching experience at various fine arts schools. Esfandiari's debut in art auctions dates back to the second Tehran auction in 2013.

Esfandiari's artistic evolution is marked by distinct phases. In the early 1950s, he adopted vibrant colors and loose brushwork influenced by Impressionism, evident in his works characterized by simple forms delineated with dashed colored lines. Transitioning into the late 1950s, his style shifted towards employing rhythmic, undulating lines or relatively flat surfaces, infusing his compositions with a dynamic ambiance. By the 1960s, Esfandiari's signature period emerged, characterized by the prominent use of blue and green hues inspired by Iranian tiles and fabrics. Rhythmic lines evolved into geometric structures, meticulously arranged to create exquisite harmony within his works. His subjects primarily revolved around inanimate nature, portraits, and depictions of daily life.

Reflecting on his approach to painting, Esfandiari emphasizes the significance of tone and harmony. He meticulously measures colors, favoring pure hues and occasionally incorporating white to enhance luminosity. Esfandiari's penchant for simplicity is evident in his restrained use of colors, often limiting himself to two or three shades per composition. Notably, he employs a technique of juxtaposing dark canvases with illuminated areas, adding depth and contrast to his artworks.