Tableautin, now of an orientalist nature, very much in line with the realist imaginary that surpasses dreamy romanticism, and in which a traveling salesman (perhaps from Tetouan) is reflected, here documentary-oriented in all its descriptive rigor. It is easily deduced that Agrasot was able to extract the models for his paintings from the many illustrations that were then published about the war and the Spanish/French colonial domination in the Protectorate of Morocco. The Arab, framed under a small window and gate, over which the barely sensed head of an observer appears, through a lattice shutter, is pure miniaturist synthesis. Painted in Granada, guardian of so many Moorish vestiges and which Agrasot must have painted at the beginning of the 1870s, both outdoors in the Albaicín, but also in the Los Siete Suelos inn in the Andalusian capital, shared, as lodging and workshop, with other illustrious painters such as José Villegas, Bernardo Ferrándiz, or Martín Rico.
