He trained at La Llotja, the Barcelona School of Fine Arts, and at the private academies of Martínez i Altés and Pere Borrell. At the same time he worked as an apprentice at the Gual lithography workshop, where he got to know A. Gual, who encouraged him to study at these two schools. With other painters he met in class he formed a group known as El Rovell de l´Ou (Egg Yolk), belonging to the second generation of Modernista artists.

In 1895 he took part in the exhibition organised by the Cercle de Sant Lluc at Sala Parés (Petritxol, 5) and shortly afterwards, in 1899, he went to Paris with the painter P. Ysern and the sculptor E. Fontbona to study at the Colarossi Academy.

In Paris he concentrated on portraits and urban scenes (Retrat de Pere Ysern [Portrait of Pere Ysern], 1900; MNAC collection). His painting, influenced by his stay in Paris, displays the features of Impressionism and, at certain periods, such as during his retreat on Montseny, he used the technique of Pointillism. However, in Catalonia he was not supported by the critics. The works Muntanyes des del Montseny. Dia serè al matí (Mountains from Montseny. A Clear Day in the Morning, 1903; MNAC collection) and Hivern, dia emboirat (Winter, Misty Day, 1900; MNAC collection) are examples of his assimilation of Impressionism.

Following an exhibition at Sala Parés that did not meet with the approval he was hoping for, he gave up painting until 1920, when he took it up again and produced a series of Majorcan landscapes. He published drawings under the pseudonym of "Pius" in the magazine Papitu.