Born into a well-off family of Italian emigrants, he began to study architecture and simultaneously became a member of the intellectual circle “Parera group”. In 1911, he gave up his studies and, following his artistic vocation, moved to Paris, where Hermen Anglada Camarasa became his teacher at the Vitti Academy. Influenced by this Catalan painter, on June 1913, he travelled to Majorca for the first time, meeting Anglada and his students at Cala Sant Vicenç. He was travelling through Italy at the outbreak of the First World War and, knowing that Anglada and other painters had settled in Port de Pollença, he did the same and later settled in Pollença’s Horta.

His early works are defined by symbolist features of Pollença’s landscape free of any human presence, which he spread internationally through several exhibitions in Buenos Aires, Montevideo and Rome. The first exhibition in Majorca was a group exhibition held at La Veda in 1917, together with Roberto Montenegro and Anibal Nocetti. In 1920, he held his first individual exhibition at the same place with a total of 12 works. That same year, he won first prize with La herida de la montaña at the 1st Regional Art Exhibition held in Palma, and the following year, he won first prize at the Salon Anual de Bellas Artes in Buenos Aires with Tarde.

From 1922 onwards, he abandoned the transcendental and decorative features, giving way to a mixture of Post-Impressionism and a more volumetric style of painting, following Cézanne’s ideas; he kept on spreading his work internationally, such as in Pittsburgh, Los Angeles, New York and London. He participated in the 13th Venice International Art Exhibition as part of the Argentinean section. In 1924, Marzo en la huerta won first prize at the National Exhibition of Fine Arts in Madrid, and in March 1927, he held a second individual exhibition at La Veda, where there was a noticeable change in his topics and technique. He had been living in Majorca for more than ten years at the time, and he chose themes such as human figures, which he considered the most appealing to him. In 1929 he was already an acclaimed artist, as it is shown in the exhibition at Galerías Costa and Amigos del Arte in Buenos Aires. As a result, the canvas Cala Sant Vicenç was acquired by the Museo Nacional de Bellas Artes and Campesina by the Museo Provincial de Bellas Artes de La Plata.