Isolated from intellectual circles, he nevertheless took an active part in the various art exhibitions that were held every year, which is why some scholars regard him as belonging to the second generation of Modernista artists, although he is an unclassifiable painter.

He trained in his home town with Manuel Marquès before studying in Barcelona with the painter Joan Parera. The influence of the landscape painter Carlos de Haes, with whom he worked during a period spent in Madrid, is noticeable in his painting.

The work of this artist did not achieve a great deal of recognition in Barcelona and he exhibited more elsewhere in Catalonia. His early production is marked by subjects to the taste of the public of the moment, especially landscapes laden with feeling, such as Vallcarca (1898; MNAC collection), and subjects close to the public, such as Mare i filla (Mother and Daughter) 1898; Fundació Francesc Godia, València, 284). He dealt with a limited number of subjects throughout his career, but he stood out for the expressiveness of his colours and brushstrokes, Un poble empordanès, Torroella de Montgrí (An Ampurdan Village, circa 1918; now in the MNAC collection), for which he was admired by artists such as I. Nonell.