Majas and majos eighteenth-century, whom by pure semantic transnomination (metonymy), taking the generic for an author, today we call "goyescos/as", will become, especially in nineteenth-century Elizabethan Madrid, into "manolos" and "manolas", That is to say: humble people (many place them in the Lavapiés neighborhood), who dressed in their best clothes, whether to go to mass, to the bullfights or to a festival. Soon the aristocrats (including the queen herself) also adorned themselves in this popular way, although obviously with greater luxury of fabrics, embroidery and beads. Probably one name or another would have been worth the same to Agrasot, we assume that this painting painted in 1890, has the title of Manola because by then it was widely accepted, more like a fashionable folkloric costume than the traditional traditional festive one that was out of necessity. The tortoiseshell comb, so difficult to reflect due to the shine, seems almost impressionistic, descending realistically towards the raven hair collected with a ribbon to frame the beauty of the almost adolescent girl, showing from her dark brown eyes, lips painted crimson red, the perfect mastery of Agrasot in the slight shading. The bust filled with contrasts and fine decorations on the fabric: pristine white shirt, silk bow knotted with a gold ring, vest decorated with strawberry trees, and short jacket with brocades and tassels; while her hands, perfectly drawn, hold a fan of worked horn, slightly semi-open, the elegant girl sitting on a white shawl that protrudes from behind her, barely mottled with red and black strokes, now decidedly impressionistic. In some way, this painting covers the entire second half of the 19th century, Agrasot showing us his knowledge of the different styles, which were already beginning to intersect and overlap, as a wink of maturity, since he, although here he maintains his own stylistic discourse for consistency , he very well knew what was developing in Paris during those years of initial avant-garde movements that were as different from each other and without a solution of continuity as the reading of Art History had been until then.
