His father was representative of foreign firms, some of them from Nuremberg[2] Mir studied at the Llotja before joining the Colla del Safrà group with Canals, Nonell, and Pichot.

[4] Among the artists he met in this period of his life, and who influenced him, were Laureà Barrau, Santiago Rusiñol, Eugène Carrière, Pierre Puvis de Chavannes, and Ignacio Zuloaga.

Colour and light meant everything to Mir, and he used them to build a personal idiom in which he created a surprisingly modern oeuvre, beyond the art movements like Impressionism or Symbolism with which critics have often sought to associate him.

Although his artistic development varied between realism and abstraction, two features crop up throughout his entire output: the urge to establish a new vision of nature and an unremitting search for beauty marked by genuine creative tension.

[7] Mir Trinxet painted landscapes in Tarragona and Majorca (perhaps his best-known works, and certainly the ones that contributed most to create the myth of the artist that merged with nature and lost himself in a delirium of light and colour).

[7] Casa Trinxet was a building designed by Catalan Modernist architect Josep Puig i Cadafalch and built during the years 1902–1904, in the Eixample district of Barcelona.

In the house, Mir Trinxet use a technique that gives the painting a mysticism, an almost magical luminosity, as flowers glow as orange and yellow lamps on a bed of lush green.

Here we have all the warmth and freshness of a garden, intensity provided in colored blooms, and dew that clings to leaves and grass seeped into a crisp pale green.

It is a painting that transports its viewer, absorbs them into an atmosphere, fitting for a mural, which has the power to change He showed his interest for the decorativisme in his work for Casa Trinxet.

[11] The Casa Trinxet was demolished in 1968 despite attempts by artists and intellectuals to save it for conversion into a museum of Modernism, in the period of Porcioles council, for the builders Nuñez i Navarro.

Oscillating between respect for Hispanic traditions and modernity, their works were part of the contemporary surge to broaden horizons that arose among the Spanish avant-garde.

[4] The emerging modernista art world gained a center with the opening of Els Quatre Gats, a bar modeled on Le Chat Noir in Paris.

[citation needed] It is not clear if Mir Trinxet was a frequent or infrequent habitué of El Quatre Gats, where he met many of the modernist painters.