León, along with Albacete, Teruel, were the most common pilgrimages that Agrasot undertook every summer, leaving his family in Alicante. In some way Agrasot transfers to these paintings his unforgettable “ciociaras” of his youth in Italy, now transfiguring them into Castilian-Leonese-Aragonese peasant women, depending on whether the painter travels to one place or another on the Spanish plateau; and, at the same time, so differently dressed compared to the Valencian ones, where the light, the landscape and the rural construction itself also change. Four peasant women from León with their clogs and their knitting spindles, with those roosters and chickens that Agrasot constantly claimed during his lifetime for proving that they were his and not Fortuny's, or any of his other Roman companions.
