Self-portrait of the painter dedicated to his son. Joaquín Agrasot looks here, with a tanned skin, a jacket, or perhaps an artistic painter's duster, since it doesn't even cover half his body, with a very modern black shirt and white polka dots (like polka dots), a bow tied around his neck, and a picture in the middle of his work. . The attitude would be attentive, as if he had stopped working for a moment to peer into a memorized reflection in which only the author himself can reflect, because he, better than anyone, knows the interiorities of his emotional state, and returns to explore the physiognomy in which one looks every morning reviewing experiences. Agrasot already has gray hair, even slight ones, although, in any case, his features show his mature age and, likewise, recall in his attire the emancipation in the Rome of transgressive liberality, and in the summer Portici given the modernity of his perfectly described clothing, but without the mannerism of other portraits with brushes very adjusted to academic drawing. Here the line is absolutely loose, sketched and autonomous, almost primitive expressionism, with the exception of some facial features as demonstrating that it is mandatory to know how to paint, before unpainting in emancipation from the Academy, but with knowledge of subsequent cause and effect.
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