There are several replicas and copies of The Disrobing, a unique canvas painted by El Greco between 1577–79. Harold Wethey ordered a total of fifteen works on this theme, plus a group of four half-length copies. El Greco directly participated in five of these compositions, and the remaining ten were included among the workshop´s productions or as later copies. The Disrobing held at the Museo del Prado is a painting whose greatest interest stems from the fact that it is the only work signed by the painter´s son, to whom a varied number of works have been attributed, but real authorship has not been proven. In most cases, these works are very unevenly executed and can hardly be related to a single person. In addition to the enormous differences in terms of pictorial quality, the Prado copy shows slight variations with respect to the Toledo composition. On the one hand, a crown of thorns has been placed on Christ´s head that does not appear in El Greco´s canvas. The figures shown in this painting are somewhat further away from the foreground, distanced from the viewer. The presence of the three women is also somewhat greater, as they have been elongated in comparison to the original. It should also be noted that, on the right-hand side, in the middleground, a figure has been included that is not depicted in the canvas at the cathedral: an elderly, grey-haired man with a beard and sparse hair with his back turned to the viewer. The head of the figure to his right is partially concealed in this copy, whereas his entire head is shown in the original painting. These details reinforce the idea that Jorge Manuel did not copy the canvas at the cathedral but that at the parish of Santa Leocadia, where both the crown of thorns and the figure with his back turned appear. Wethey had already considered this possibility, quoting the easier accessibility to the Santa Leocadia canvas compared to the one in the cathedral sacristy. Nevertheless, Pérez Sánchez pointed out that ‘the detail of the thief’s hand holding the rope to the right of Jesus comes from the Munich copy and is only visible in the ones in Orgaz and in the Musée des Beaux-Arts in Lyon.’ The similarities with The Disrobing in Orgaz are completed with the drawing of the sky, as the clouds ascend and converge as if into a cone shape, which are repeated in schematic form in Jorge Manuel´s version. The relationship between the two copies is quite close. The similarities are also maintained in terms of the quality of the painting. However, the one by El Greco´s son is of inferior quality than the one by Orgaz, from which the canvas in the Prado is possibly derived.

Ruiz Gómez, Leticia, El Greco en el Museo Nacional del Prado: catálogo razonado, Madrid, Museo Nacional del Prado, 2007, p.229-232