Josep de Togores. Printània, 1922

Around 1917, a generation of artists some ten or fifteen years younger than the first noucentistes, among which there was Josep de Togores, Enric C. Ricart, Francesc Domingo and Joan Miró, presented themselves publicly in Barcelona. Despite not having a common aesthetic, they coincided in their rejection of Mediterranean noucentisme and proclaimed their admiration for Paul Cézanne. Most of them cultivated a figurative art that, in some cases, gets close to certain avant-garde approaches. 

In 1919, Togores began a long stay in Paris and for a time mixed his artistic practice with being art critic.  Some of the works he painted then, like the one we are commenting on, reflected a return to Mediterranean classicism, the results of his relation with Aristides Maillol. With a broad and coloured palette, Togores recreated himself then in the representation of volumes and in drawing.

Printania, Josep de Togores, París, 1922