Joaquín Agrasot Juan (Orihuela, 1836 - Valencia, 1914) - Personaje típico
Technique: Oil on panel\Signature: Hand signed
Joaquín Agrasot Juan (Orihuela, 24th of December, 1836 – 8th of January, 1914) He was a Spanish painter who falls into the frame of the realistic and traditionalist genre. Joaquín Agrasot began his studies in his hometown, Orihuela. In 1856, at a very young age, he obtained a grant from the Diputación Provincial de Alicante to study at the Escuela de Bellas Artes de San Carlos de Valencia. There, his teacher was the artist, restaurateur and academic Francisco Martínez Yago, father of Martínez Cubells. Years later he obtained a new grant to move to Rome. There, he contacted Eduardo Rosales, José Casado del Alisal and Mariano Fortuny, with whom he established close friendly and artistic ties and whose style profoundly influenced Agrasot's painting. His miserable childhood triumph desires led him to send works to the National Exhibitions of Fine Arts, where he did not achieve significant successes. Until 1875 he remained in Italy, returning to Spain after the death of his good friend, Fortuny. He gained a well-deserved prestige that led him to be a member of the Academia de San Carlos and the Real Academia de San Fernando, participating as a member of the jury at several exhibitions. His death took place in the city of Valencia on January 8th, 1919. Nowadays, the Prado Museum keeps two works by Agrasot in its collections. In addition, the Carmen Thyssen Museum of Malaga and the Museum of Fine Arts of Valencia have paintings by Agrasot in their collections. A special mention must be made about Spain’s Palacio del Senado, which houses the painting Muerte del Marqués del Duero, and the Pedrera Martínez Collection, which contains more than eighty paintings by this nineteenth century master. Agrasot's style falls within the frame of pictorial realism. he was interested in gender themes and in regional traditionalism, without abandoning the nude, the oriental subject-matters and the portraiture. Forced by fashion, he also worked on historical paintings, with which success could be obtained in the official channels of the 19th century Spanish art. The influence of his good friend Fortuny was decisive in his painting.
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Technique: Oil on panel\Signature: Hand signed
Joaquín Agrasot Juan (Orihuela, 24th of December, 1836 – 8th of January, 1914) He was a Spanish painter who falls into the frame of the realistic and traditionalist genre. Joaquín Agrasot began his studies in his hometown, Orihuela. In 1856, at a very young age, he obtained a grant from the Diputación Provincial de Alicante to study at the Escuela de Bellas Artes de San Carlos de Valencia. There, his teacher was the artist, restaurateur and academic Francisco Martínez Yago, father of Martínez Cubells. Years later he obtained a new grant to move to Rome. There, he contacted Eduardo Rosales, José Casado del Alisal and Mariano Fortuny, with whom he established close friendly and artistic ties and whose style profoundly influenced Agrasot's painting. His miserable childhood triumph desires led him to send works to the National Exhibitions of Fine Arts, where he did not achieve significant successes. Until 1875 he remained in Italy, returning to Spain after the death of his good friend, Fortuny. He gained a well-deserved prestige that led him to be a member of the Academia de San Carlos and the Real Academia de San Fernando, participating as a member of the jury at several exhibitions. His death took place in the city of Valencia on January 8th, 1919. Nowadays, the Prado Museum keeps two works by Agrasot in its collections. In addition, the Carmen Thyssen Museum of Malaga and the Museum of Fine Arts of Valencia have paintings by Agrasot in their collections. A special mention must be made about Spain’s Palacio del Senado, which houses the painting Muerte del Marqués del Duero, and the Pedrera Martínez Collection, which contains more than eighty paintings by this nineteenth century master. Agrasot's style falls within the frame of pictorial realism. he was interested in gender themes and in regional traditionalism, without abandoning the nude, the oriental subject-matters and the portraiture. Forced by fashion, he also worked on historical paintings, with which success could be obtained in the official channels of the 19th century Spanish art. The influence of his good friend Fortuny was decisive in his painting.
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