Muxart prefers painting over other means of expression. As an artist, he evolves with practice and never stops questioning the fundamental structure of the painting: the composition.
All his works reflect a basic internal order. Cubism in its early days, admiration for the compositional structures of the Romanesque or plumbing the fundamentals of abstraction in his years of training mark the evolution of his compositional character. A clean and intelligent modernity, equidistant from the academicism of the 1940s, you can see in Les meves germanes. Starting in 1954, his painting firmly adopts a colour scheme that is exalted in spots of light; his landscapes and architectures are thus ordered with a stronger composition, as evidenced by Cúpula blanca. The pigment is radiant and achieves great spatial depth.
As head of the department of Colour and Composition of the Faculty of Fine Arts in Barcelona, his mastery guided and marked several generations of Catalan artists.
The serene painting Les meves germanes perfectly reveals all this compositional work and prolong its effects in more scenic and architectural works such as the series Paisatges de NY from the 1990s.