That academic teaching, as routineful as it might seem to us, contributed with two key elements that provided solidity to the already  mature talents of Gausachs; those  were, his authentic technical virtuosity, which he did not obtain but simply perfected in Paris, and his established sense of discipline and diligence, that never diminish, not even during the last  years of his life, when his health became a little delicate.

One of his professors, Félix Mestre, said about Gausachs; "intelligent and skillful, tempered his academicism with a discrete dose of creed impressionism". According to account one of the biographers of Gausachs, A. Junyent. Mestre had  the ability to discover, among his students, which had authentic talent, and was exactly what occurred with Gausachs, who became his disciple favorite, and became his assistant for paintings of murals.

But even out of the academy they did not lack the intellectual stimuli. Was the Barcelona of ends of the 19th century and principles of the XX, where, according to the same author, they took a seat "the impressionism of Rusiñol and of Houses, the intellectual anarchism of Pedro Corominas, the architecture of Gaudí, the poetry and the music of Maragall, to Die and Pedrell, the theater of Guime-rá and Puig i Ferrater, the novels of Narcissist Oller and of Pompey Gener, with their petulant hat of musketeer and the prestige of to have been a lover of Sarah Bernhard. General headquarters of the revolucionarismo modernist was the bar 'Els Quatre Gats', by where appeared frequently a young one flacucho and shaggy, enthusi

It provided of an avid and awake sensibility and of a solid technical discipline, the artist was transferred to Paris at the moment of the boom of the Cubism and the Fauvism. where would find him the crash of the First World War.

He then passes from impressionism to Cubism,  Dadaism, Surrealism...  from this last one he was attracted above all by the practice of the dactilism and the special sensibility for capturing the fantastic and magical side of things that never abandoned him  and is found on  the root of all aspects of his peculiar vision of the Caribbean world which possibly even had an influence on Wolfredo Lam.

From the expressionism and the neoexpresionismo he took, perhaps, some of the most characteristic traces of his style. Nervous tremulous graphics, that at the same time were gifted with energetic crafted and secure sinthesis that affirms without doubts the integrity of the object, without concessions to divisionism but that Paradoxicaly incorporates the tonal sensibility and the serene luminous lyricism of the impressionistic models. Especially on the painting of landscapes, of which Jose Gausachs was a consummate master. The gentleman of Montparnasse", nickname with wich Josep Gausachs  was known back then in that small artistic Parisian world, at the time he worked with a reduced palette , of white, black, blue cobalt, yellow cadmium and emerald. which were sufficient for him to reach the enthusiastic compliment of the critics, including the remarkable critics of. Pernaud, art critic of "L´lntransigeant", who affirmed then that Josep Gausachs painted "with the colors of the French flag", with that typical tendency of considering and absorbing the foreign talents during his time in French grounds and developing and making it  his own.. Charensol, from "Les Nouvelles Literaires", did not remain behind he considers the artist as one of the finest representatives of the school of painting, and the same can be told about Christian Zervos and Waldemar George.

At the moment of Gausachs, the manifesto compliment of Picasso and of Albert Marquet, were also there.  who stood before one of its pictures admitting: "¡This picture had wanted it to paint I!" Finally Tristán Tzara expressed growth to the quality of the man and of the artist that was Josep Gausachs, giving him an and a box of paintings, that still conserve, as a valuable relic, the relatives of the Catalonian painter.

Gausachs exposed repeatedly in Paris, in the galleries of They go Ogen. Pierre and Vidrach, and in Brussels and Amsterdam. Little by little a reputation in growing boom managed to work, and that had given still more yielded fruits if had remained in Paris al to finish the World War, in an exceptional moment of inflation of the prices in the artistic market. For it counted already with proposed attractions of various acquaintances "marchands of tableaux". But family obligations would oblige to return to the City Condal, with what a new chapter of its life was initiated and its work.

Also in Spain their activity expositora was it sufficient important by the quality and the quantity so that the press and the criticism of the thirties in Catalonia and in Spain they assigned him a noticeable place. The historian of the art Juan Antonio Merry Ñuño did not doubt in considering it as one of the most representative examples of the Catalonian school of painting during the first half of the 20th century. All which he does paradoxical, although not less certain, the affirmation of Manuel Trens that Gausachs had not left to be, in its land, "a great stranger". Opinion this that expressed in the catalogue of a retrospective that to posthumous title dedicated him in 1964 the gallery of art Syra, of Barcelona.

This great oversight was owed, without doubt, to personal and political circumstances. Gausachs was converted, owed al crash of the civil War of 1936, in another of so many intellectuals and artists that formed part of that "Spain of the Exodus" and to which the culture of the America Spanish owes a recognition that barely now is valuing itself in its just measure. The absence and the subsequent silence they erased during years the memory of a work of exceptional quality. But possibly it have contributed also al relative ignorance of Gausachs by the new generations in Spain (another thing is the Dominican Republic, where worked during two decades and several generations of artists recognize it with pride as their indisputable teacher) the same independence and nobility of their character, alien to the lobbies and the advertising management that so much they abound in the world of the art, producing by the treta and the Prestiges so fulgurantes as unwarranted and, likewise, ephemeral.

In February of 1932 exposed again, now paintings, and in the Even Room. Ráfols. Benet. F. V. Foix spoke then of "neofauvismo" in the painting of Gausachs. or of a "beating of the Fauvism enriched, besides, by a personal vision", Foix. Or "Focius", is converted then in the angriest defender of the work of Gausachs. The exposition of the Even Room is converted then in the pretext for the celebration of a homage al artist in the "Lyon d' Or", al that attended, among others, the critical Sebastián Gasch. Foix and Benet. the artists Grau Room. Fenosa Obiols. Besides J. A. Maragall and the poet Decay Ribas, who dedicated a poem al honored.

But besides the twenty-seven cloths of the Even Room, that understood above all landscapes and figures. Gausachs present was done that year in the from barcelona artistic world by its participation in the "Parlor of Montjui' c". Where the press names him among the "master" such as Caries, Mercado Labarta, Domingo y Pidelaserra.

In 1934 and 1935 Guasachs exposed landscapes of Ibiza and Majorca, where was painting and working the art of the vitral,and respectively, of Collicabra. The strong brightness of the mediterranean landscape, that without gradations neither shades, as affirmed a critic (A. Flat, of "The Vanguard"), puts in the first plan all the objects, without "half measures", "brutally", is assumed with the same accuracy perceptual that the fogs and variations infinitesimales that in their previous landscapes define it as a virtuous one of the tonal appraisal.

Also it exposed, like the balearic islands, in Valencian Galenas, the landscapes of Collicabra manage to maintain, by the tonal precision of the pincelada, all the luminous vibration of the atmosphere. A tone a the more dramatic and contrasted is shown in the still lifes of then, like that of "The Bleda". of 1934, presented by the artist in the Parlor of Montjui' c of that year, and that immediately was acquired by the Museum of Modern Art of Catalonia.

A cromatismo that avoids always the estridencia, but never the harmonización audacious of blue and red brilliant, a pincelada long and spontaneous, a sure drawing and fluid, they corroborate the impression of maturity that the painting of Gausachs produces then in the criticism of the epoch, and that culminates funnily in their pictures of flowers, that have all the joy and the coolness of those of Redon.

Also in 1935 it exposes Gausachs in the Room Bigas and in Vic. Does not it leave for then to enter in the art of the portrait, often with romantic unpleasant aftertaste, or doing gala of composite imagination and of grace, as in which did of its ancestors. Neither the works abstraccionistas of their last period in Holy Sunday lack precedents in their from barcelona phase. Gausachs not itself supeditó never to dogmatism of school, and much less to self-imposed limitations, what does not do impossible a differentiation of periods in its work, but whenever this be understood inside a notable fluency, being maintained continuously and through the changes a notable unit of the style that does not do more than translating, without proposing it to him, the personality of the creator, and "the emotion", that contraryly It sought by Bracque, and in harmony with Juan Gray, to should "to correct to the rule".

Also during the thirties participated Gausachs in Spain in importantes collective expositions, as that of Catalonian painters organized by the newspaper "The Herald of Madrid", or the exposition-contest that carried out the Museum of Decorative Arts of Montjuich, dedicated to views of Montserrat of Catalonian painters, where a fabric that harmonized blue and luminous roses showed once more its indisputable talent of colorist.

But again the destiny twists the course of the life of Josep Gausachs. Their they known republican loyalty and their liberal mood and progressive they could not be arranged with the state arisen of the civil War of 1936-1939. Al serious danger that ran their life themselves most greatest the police repression that even complicated the conservation of part of their work.

After being in fields of French concentration, especially in Narbonne, its friends manage to find it, and finally could flee in the ship "Cuba", when already World War Two had been initiated, bound for America, and in company of its son Francisco, who would also be a painter and professor of painting.

A series of circumstances, among the ones that the need is emphasized of "to clean" the international image of one of the picturesque and most bloodthirsty despots of Spanish America, Rafael Leónidas Trujillo, that had just ordered the killing of some thirty thousand Haitians, determined that this to open the doors of the Dominican Republic to them exiled Spaniards, in a boasting of apparently incomprehensible humanitarianism since the point of view of the democratic mentality Of them they exiled, in franco contrast with the ideas and the actions of the dictator.

That migration in which intended to give priority to the farmers, with the ones that was sought to populate the bordering zone of Holy Sunday with Haiti, carried to the small republic antillana a considerable number of intellectuals and artists. The more, they went in a not greater time limit of five years, not without leaving before a lasting track in the cultural life of the nation. Gausachs, that according to Vicente Llorens was, among the artists, "the best-known one and of greater age", remained in the island, save a temporary stay in Venezuela, in 1945, to its death happened July 26, 1959.