There is no doubt about the influence (causing the copy) of the Velazquean Venus of the Mirror, in this Female Nude by Agrasot. Velázquez, master and painter's painter, has been from Goya, through Manet or Fortuny, and reaching Picasso or Francis Bacon, the most copied and reinterpreted painter of the 19th and 20th centuries; In fact, when traveling to Madrid it was a must-see given that the current Prado Museum houses most of his work. Agrasot could not be an exception, although precisely that painting could not be copied from the original because it had already been stolen by the English (today exhibited in the National Gallery in London); So, surely, it must have been based on the many copies and paper reproductions that circulated in the capital of Spain. Although, the clear differences are manifested in the respective formats, and in the disappearance of the Velazqueño angel, in addition to the slight Agrasotian foreshortening of the beautiful young woman in a classicist profile, or the resolution of a recursive chiaroscuro background that practically divides the painting diagonally. . Apart from the exchange in the play of colors of its two halves: vermilion, gray and white, it is still, as a whole, a tribute, like many others made by those who lived through the Oriolano century, (Goya, Fortuny, Manet, Carolus Duran, etc.) seduced by the brilliant Sevillian, so often imitated in all or part of his most emblematic paintings. Although, equally, in this case, we must value the demonstration of the anatomical mastery of the interpreter rather than a copyist.
