Despite having a first stage of a more traditional character, around 1911 his work takes a turn when he travels to Paris and meets Picasso. Through the influence he received from the most primitive part of his production, he made metal figures and masks of various materials. With this new style, he settles in Barcelona, where he carries out several projects, among them the monument to the actor Iscle Soler (1918) or his participation in the International Exhibition of 1929. With the dictatorship, he went into exile in Paris where he stayed to live permanently. There he was influenced by Modigliani’s painting, causing important changes in the way he developed his human figures, now with more elongated faces and bodies, as we see in the work El Profeta (1933), which also highlights the incorporation of emptiness.

In the Suñol Soler Collection we find two works from these two outstanding periods; on the one hand, a polychrome mirror that shows his beginnings more in contact with the modernist tradition, and on the other, a bronze mask influenced by Picasso and cubism.