This painting has double merit as it is unfinished. On the one hand, it demonstrates the octogenarian painter's strength will to continue in the workshop until his last breath. The work, which is about to be finished, is signed by his son with the following legend: “Painting this painting, my father, the painter Agrasot, became ill and died at the age of 82.” R. Agrasot. And this impasse between his life and his death allows us to glimpse Agrasot And in this impasse between his life and his death Agrasot allows us to glimpse his very well-known and well-known technique learned at the Valencian Academy of San Carlos and at the Gigi in Rome, perfected later after many years of work traveling through rural Spain. We observe here, first the thick pencil, then the fine corrector on which he will add oil from less to greater chromatic intensity, continually searching for the three planes, of which we see here is the furthest landscape support, practically finished, the middle plane of the building almost finished; but he is still to color a plane where, in addition, he will be able to place the centrality in objects or characters on the white drawn his intentionality. It is the painter's family that still preserves this instructive and final work, which helps to unravel the structure of many previous ones. This painting has double merit as it is unfinished. On the one hand, it demonstrates the octogenarian painter's strong will to continue in the workshop until his last breath. The work, which is about to be finished, is signed by his son with the following legend: “Painting this painting, my father, the painter Agrasot, became ill and died at the age of 82.” R. Agrasot. And this impasse between his life and his death allows us to glimpse Agrasot And in this impasse between his life and his death Agrasot allows us to glimpse his very well-known and well-known technique learned at the Valencian Academy of San Carlos and at the Gigi in Rome, perfected later after many years of work traveling through rural Spain. We observe here, first the thick pencil, then the fine corrector on which he will add oil from less to greater chromatic intensity, continually searching for the three planes, of which we see here is the furthest landscape support, practically finished, the middle plane of the building almost finished; but he is still to color plane where, in addition, he will be able to place the centrality in objects or characters on the white drawn his intentionality. It is the painter's family that still preserves this instructive and final work, which helps to unravel the structure of many previous ones.
Author
Agrasot Juan * Joaquín
Discipline
Painting
Theme
Landscape
Technique
Oil Panting
Support
Canvas
Place
Date
Height (cm)
73
Width (cm)
44.5
Owner
Known owner
Digital property registration?
Digital Registration Unclaimed
Info about artwork: