The painter from Oriola never paid attention to the Madrid critics who were so contemptuous of those who paid the artist to paint a prosaic nag, in the ostentatious decades of historical painting filled with horses and knights in memorable exploits. What's more, the Oriolano liked to represent such a humble colt so much that he did not hesitate to include it, alone or with other horses, along with its owners and/or sellers, every time, and there were many, that he deemed it necessary (just like his “wise” wool dogs) because he always sought the authenticity and plainness of his country pictures. The handsomeness of the gypsy akimbo and afaca in his pocket contrasts with the meekness of the donkey, as well as the color that enhances the credibility of its components from the range of reds, browns and blacks.
