Eugeni d'Ors, the intellectual father (and inventor of the term) noucentisme, praised artworks that Torres Garcia displayed at Sala Parés and the Cercle de Sant Lluc that same year. Later, he wrote the prologue to Torres' show in the Galeries Dalmau in 1912 and included frequent references to Torres's work in La Ben Plantada, the book which summarizes the ideology of the noucentista. Torres, though, is far from being an adherent of the ideology indicated by D'Ors; his evolution follows his own theoretical elaboration, which is explicit in two texts published before the configuration of noucentisme as a trend around 1910: "Augusta et Augusta" (1904) and "La nostra ordinacio I el nostre cami" (1907). In Classicism, Torres searches for the model of order, a language and an adequate cultural reference to overcome the realistic tendency of representation and to develop a Catalan art capable of universal proportions. This objective coincides with noucentisme, but Torres's radicalness paradoxically separated him from the artists who follow this tendency — Sunyer, Canals, Aragay — and, ultimately, D'Ors.