In Spain, the 20th Century starts with a journalistic milestone that marks the modernization of the daily newspaper: the creation of ABC. The 1st of June 1905 the newspaper saw the light after two years of trials as a fortnightly and weekly newspaper. The ambitious project promoted by Torcuato Luca de Tena (1861-1929) aimed at employing the philosophy of the preponderance of the image that had worked so well with the weekly magazine Blanco y Negro (1891) to the daily newspaper.


The newspaper Ahora was founded by Luis Montiel Balanzat, who took on the role of co-director along with Manuel Chaves Nogales as deputy director. Montiel’s earlier experience with Estampa, which he had launched in 1928, was a guarantee of success. The subtitle “graphic newspaper” was added to emphasise its adundance of illustrations.

Blanco y Negro

A magazine founded by Torcuato Luca de Tena (1861-1929), it had different stages throughout its history, the first of which went on between 1891 and 1939. After a trip to Germany where he discovered the magazine Fliegende Blätter, Luca de Tena conceived the idea of launching a weekly graphic magazine of quality. The result was Blanco y Negro, a publication based rather on illustrating and entertaining than informing. The constant use of images, the literary collaborations of quality and the progressive introduction of features, soon made it a media of reference.


The first issue of Companya. La Revista de la Dona came out on 11 March 1937. It was published on a fortnightly basis until January 1938, when it became weekly. A total of 18 issues were published until 8 March 1938. Produced in Barcelona, it was also distributed in other Catalan towns. The editorial team consisted of M. Lluïsa Algarra, M. Lluïsa Bargés, Aurora Bertrana, Lena Imbert, Eloïna R. Malasechevarría and Montserrat Martínez. The magazine was the mouthpiece of the Unió de Dones de Catalunya [Women’s Union of Catalonia or UDC], headed by M. Dolors Bargalló. At the time, the association had more than 30,000 members of various ideologies united by their anti-fascism, although the communists had the greatest influence over strategy. The UDC’s action was based on mobilising women in the rearguard.


The weekly magazine Crónica arose with the aim of competing with Estampa, founded by Antonio González Linares and correspondent at La Esfera in Paris since 1925. González Linares had suggested the creation of a French-inspired magazine to Prensa Gráfica S.A., but they had rejected the project. Nonetheless, a year later, confronted with the success of Estampa, the enterprise called him and asked him to launch Crónica with a print run of 200.000 copies.


A weekly satirical publication based in Barcelona, founded in 1902, affiliated with the political line of the Lliga Regionalista – it was baptised by the same Francesc Cambó –; it fought against centralism, and especially the Lerrouxism.

Diario de Barcelona

One of the newspapers with the longest trajectory in the Western journalism, it was founded in 1792 in Barcelona thanks to the printer from Naples, Pere Pau Usson. After two centuries of history in different stages, as well as of course in contexts, it ceased to exist for good in 1994.

El Día Gráfico

Since the 11th of July 1913 the evening newspaper La Tribuna, owned by the business owner Joan Pich i Pon, announced regularly on a whole page a “journalistic event”: the launch of a new morning newspaper as of autumn, which would end up being called El Día Gráfico, “a true daily illustration (...) with the true perfection achieved by means of the newest system 'Rotogravure'”, -it would be the first newspaper to implement this system in Spain.


At the end of the 20es the magazine Estampa symbolised the modernization of the weekly graphic magazine with focus on the very latest in Spain, following the model that was being implemented in Europe at large. This general news magazine was founded on top of a project led by its first editor in chief, Antonio González Linares, correspondent at La Esfera in Paris since 1925.


Monthly magazine written in Catalan it was published in Barcelona as a supplement to Il·lustració Catalana. Managed by Carme Karr, it distinguished itself from the other typical publications of the 19th Century which had a protective character and addressed the women with the aim of having an impact on the informative sphere. Although the explicit aim was to reach “all the women”, in reality, the audience were largely middle and upper class women and, within this group, the ones who were sensitive with the incipient process of feminist and suffragist struggle.