Togores was part of the generation of young artists that around 1917 claimed a space of liberty and modernity for the Catalan art, which was at that time dominated by the strict classicist directive of Noucentisme. After a short stay in Paris between 1913 and 1914, in 1919 Togores decides to settle in the French capital. For eleven years since 1921, he has the determined support of Daniel-Henry Kahnweiler. Thanks to him, Togores’ paintings are known all over Europe. Togores, who in Paris as from 1921 had the unflinching support of Daniel-Henry Kahnweiler, the Cubists’ main dealer, showed an aesthetic stance somewhere between tradition and modernity throughout his lengthy career. Catalan Girls reflects a return to the Mediterranean classicism that was a feature of the most genuine Noucentisme, a result of his friendship with Arístides Maillol. At the same time, he never renounced a certain influence from German New Objectivity.