The portrait of the lady, which bears great similarity to “The Painter's Wife and Son” from 1886, could not be more formal in its naturalism. She reflects to Emma with all the clarity of her facial features her absorbed expression, as if mentally reviewing the interpretation of the musical notes that she has just read, perfectly transcribed in the sheet music that she holds half open between her fingers. Short, reddish and somewhat rebellious hair, while dark circles and a pronounced nose reveal her maturity. The interpretation of the clothing, as well as the upholstered armchair where the lady is sitting, are, from the skill in the faithful drawing that supports the entire painting as well as the color, combining transitions from red to maroon and from white to black, of a incontestable skill. We believe that this is one of the portraits to be recovered because we understand it to be among the best in Agrasot, oblivious here to those stiffer and more conspicuous poses with which women of wealthy economic and social status wanted to see themselves represented. Of course, due to the jewelry, clothing and upholstery, we are looking at a person with a high profile, but instead of noble lineage and packaging, it is obvious that Agrasot seeks simplicity, the directness of instantaneousness and well-made things.
