Like his brother S. Junyent, he was a restless person who developed several fields.

He dedicated himself to stage design from a very early age and his success in this sphere enabled him to travel a lot. He trained at La Llotja, the Barcelona School of Fine Arts, and was also a student of the stage designers Fèlix Urgellès and F. Soler i Rovirosa, of whose workshop he became manager. He lived for two years in Paris where he was a pupil of the stage designer Carpezat and mixed with other Catalan artists such as R. Canals and I. Nonell. Upon his return to Barcelona he started work as a stage designer, especially for the Gran Teatre del Liceu (Rambla, 51-59).

One of his best known works are the designs he did on Wagnerian themes for the display cabinets of Cercle del Liceu (Liceu Circle, Gran Teatre del Liceu) which were made by the workshop of A. Bordalba and reflect the Art Nouveau aesthetic which he embraced. It should be said, however, that in the stage design field he followed the guidelines of his teacher who came from a realist tradition. In 1912 he went on a year-long trip round the world and when he came back he exhibited his drawings at the Faianç Català gallery (Catalan Faïence, Gran Via de les Corts Catalanes, 615; no longer in existence). It was at that time he began to move towards the new ideals of Noucentisme ("1900-ism", a term coined in 1906 to refer to 20th century Catalan culture). In the last period of his career he concentrated on painting and was extremely successful in all the areas in which he worked. He also made certain forays into the world of literature. From 1904 onwards he contributed to the magazine L'Esquella de la Torratxa and wrote books such as Roda el món i torna al Born (Travel Round the World and Come Back to El Born).