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ESTAMPA: the art of photojournalism

Estampa Magazine was a weekly illustrated articles about contemporary stories nationally and internationally born as a project with Luis Montiel Balanzat engineer from Madrid and moderate monarchist, and an enthusiast of technology, machines and progress. This character, which had started in the graphic arts world through Madrid and printing Bin Charts Excelsior, acquired Rivadeneyra Successors workshops, a facility that allowed him to print official publications such as La Gaceta de Madrid and the Journal of sessions. Also acquired new and restructured rotary photogravure workshop, machining and electrifying the entire production process.
The first issue came to light on January 3, 1928, and from the beginning to comply with the claims that responded to its subtitle "Chart Magazine and Literature of the English and World News "with excellent quality reproductions. Montiel concert helped by Antonio García de Linares, who edited the magazine just a couple of months but getting into this short space of time a circulation of 100,000 copies. From the number 10, the same Montiel took over the editorship of the journal, leaving the role of the journalist editor Sánchez Ocaña. After a year, came to 200,000, which equaled a strong competitor of the day as were the Black and White magazine and the New World.

Criterion editorial that led Estampa since its creation was to reach the public, and it took a modest gesture, without obvious political commitments, so it was almost impossible not to find in it any reference beyond explicit ideological positions as a community by a wide range of population, as were the religious or patriotic feeling. Stamp Magazine had the stated intention from the outset, if the magazine and for everyone focused on graphic information on events curious, quaint or exotic, in news about celebrities and rich stories about everyday life, with which identified the lectores.Desde the first issue, the magazine opted towards a female audience and being neither a women's magazine or a real feminist magazine, was interested in the role of women in the society, highlighting its foray into professions to one time reserved for men. Another important feature was that although edited in Madrid, the publication did not show a spirit too centrist, but he gave graphic information throughout the state, echoing in their stories, intellectuals and politicians Catalan, Basque or Galician, from a tone of respect and even admiration.

A distinctive feature of the magazine was the large number of photographs that filled the pages of the publication. At first, between 1928 and 1930 seemed to have a disparity of shapes and styles. There was a lot of graphic contributors, photographers usually have an open gallery in a city minimally important and they sent pictures loose realized provincial events in some social relevance. These photographs were presented as graphic notes in a kind of visual album. It was the photography of which had a greater presence in the magazine, or at least the most weight in the editorial treatment.
Between late 1930 and early in 1931 it became apparent a change in the magazine. Usual number of photographers stopped publishing with the same regularity. There was also some renovation in the provinces and graphics staff is a visible increase of the photographs of agency, albeit from 1932, ceased to have that character mellifluous, shocking or exotic to become more cosmopolitan. Between 1931 and 1932 appears to photojournalism had less presence than in the previous stage. However, there were thrilling events that were happening in Spain. The magazine had abundant graphics pages of notes, actually reporting on those events (burning of convents, general strike, etc.). made by different photographers.

With the number 227 of May 14, 1932, Stamp magazine started a new stage. There was a noticeable decline in sports photography and graphic notes were leaving now occupy space, to be virtually nonexistent in 1934. There were also fewer images per page but with a larger format, increasing the number of reports.
From the number 447, cone coinciding the start of the English Civil War, and fidelity in all republican law (despite the monarchical affiliation) by Montiel, the magazine was confiscated Estampa by the Young Socialists. Also, from the said point, the war monopolized the written and graphic information, giving way to stories of Soviet propaganda. However, in this period there was a lot of pictures that are unsigned, especially those from the front. The last issue came into light in 1938, and ended the war did not obtain permission to re-edited. According to Francisco Vera
Casas, in his paper titled "An approach to reportage photography in the magazine Stamp (1928-1928)," he said in his speech given at the University Politécnica de Valencia Estampa Magazine "is an example with a clear pictorial mass media, a magazine to be seen both as read, a publication designed to meet the reader's drive, it constitutes a means of communication and representation of the world, an organizer and a generator symbolic worldview. Contrary to contemporary publications, Stamp making modern forms and principles, at least in the forms and do it all based on indigenous models (which will be getting rid of progressively) in a time when other European journals are renewed or appear, as the French Vu. "

continues saying the same "Stamp is therefore clearly a visual publication, compared to the static layout of the previous publications, has a dynamic layout that leaves out many times the column structure, allowing even the box overflowing with images. However, Stamp magazines are unlike those in use that gives the photographs, each time further away from mere illustration to flesh informative and expressive forms of reporting. We are therefore faced with a moderate ideology publication right, but that meets the expectations and wishes de cambios y transformaciones de su tiempo mediante la representación de este mundo como algo cambiante, mirándolo de manera diferente, fijándose en la gente de la calle tanto como en los personajes ilustres y mostrando las paradojas y curiosidades que por todas partes aparecen. Creo que no sería denodado pensar que la estructuración simbólica y cultural de la España de aquel momento se debía, en gran parte, a Estampa”.

Y finaliza su conclusión diciendo que “sin embargo, Estampa acoge la obra de fotógrafos profesionales que, al margen del salonismo y de las pretensiones artísticas, entienden la fotografía such as communication and information, as a means to convey to his peers the world they live, showing angles and new perspectives in a position that I would say somewhere between the election theme of everyday life of French photography and compositional forms and position of German photography photographer of the moment. The work of Zapata, Badosa, Benitez Casaux, Contreras and Vilaseca, Erik, Gonshani, Marina, Oplés, Almazán, etc., Are an important part of our photographic heritage and represent one of the most prolific periods, I understand, English photography. The work of these professionals, coupled with well-known author and recognized, as is the case of Alfonso, Centelles, Díez Casariego Campua or make up the iconography of our history and the recovery of his work would raise an important step in building a history of English photography. "

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THE FIELD: art and current affairs magazine

The modernist pictorial SPHERE cutting out on the newsstands for the first time on January 3, 1914 of the hand publisher Prensa Gráfica, located at number 57 on the street in Madrid Hermosilla. Promoted and financed por los SS.MM. los Reyes de España D. Alfonso XIII y Dª. María Cristina, el responsable de su creación se debió a Nicolás María de Urgoiti, presidente también de la Papelera Española, hecho este que propició la puesta en escena de éste semanario de una calidad técnica superior a las revistas de su época, unido al desarrollo del periodismo gráfico que planteaba la imagen como elemento referencial de sus contenidos. Fue así como diversos reporteros gráficos, galeristas y creadores (paisajistas y pictoristas) encontraron un nuevo medio donde publicar sus trabajos, acompañados sólo por un pie de foto, hecho que reducía la redacción de noticias de actualidad a meros artículos and literary opinion.

The first director was Francisco Verdugo Landi and his manager Mariano Zavala. During World War I, in the absence of raw materials had to be increasing the price of the magazine and joined an advertising topped the front pages of most numbers until the end of it. Then he held a good place among the publications of large format. This publication eminently good graphics and format (36 x 27 cm) was innovative in terms of combining two previously separate concepts: first, the news as immediate information and commentary of the same for the feathers most reliable in each country at the time. On the other hand, attended the communicative, literary and artistic subjects equally relevant for those fields in your day. Of note is the emphasis in the review either graphical information of the news at the moment as in other fields such as art (sculpture, painting and architecture, among others) as well as the great illustrators when the photograph was not possible. Many ads were an extraordinary artistic quality as was the case of Gal perfume company, which published a weekly lineup that was part of a contest.
Initially, the spaces were allocated to 70% for titles and etchings, text by 20% and 10% for advertising in just over 30 pages. Subsequently, this distribution changed and was set to 50% for Art, text by 30% and 20% for advertising.

Under article Madripedia consulted, usually, a regular issue came to hold the cover and second cover panel (which was generally the reproduction of a painting, the cover having devoted painters and the second cover accredited painters at that time), the news of the day and commentary by a specialist in the field accompanied by artwork (This could be national or international or both), an article commented on the figures and works of the moment or of society (a literary level, painting, or sculpture, etc.), a graphic tour of a local literary-English, Hispanic or elsewhere in the world (showing the most artistic buildings or representative thereof), notes of society, but do not plan on "yellow press" (ie candidates for a chair of the Real Academia de la Lengua, opening of a large building, an international exhibition, the royal family of ... opened and facilities Metropolitano de Madrid, etc..), a short story writer popularity at that time, central pages (usually thicker than paper) devoted to art or fine art photography, information on the theater scene or "cinema" on the national stage, on film or American (which could not be otherwise), news of the "Sport" (Sport), and fashion (usually female) of the moment with great illustrators and / or photographic material.

During its first year of life, in August 1914, reached 55,000 and the price was 50 cents, then rising to a penny, too expensive for that time which demonstrates the elitist nature of the publication, available only to wealthier social classes. THE FIELD When the magazine celebrated its first anniversary, held a banquet at the Hotel Palace in Madrid in honor of Francisco Verdugo and Mariano Zavala, a tribute by signing the notice of the most important representatives of institutions of Madrid. In the early 30's, technological advances brought to light more affordable magazines printed in gravure photo news and more timely information (events, politics, sports, entertainment, etc.), Which adversely affected making SPHERE more in journal of elite and beginning its decline and subsequent disappearance on January 17, 1931. A total of 889 published numbers, the extra copies were published unnumbered. Writers and contributors were notable, among others, Benito Perez Galdos, Perez de Ayala, the brothers Quintero, Miguel de Unamuno, Emilia Pardo Bazán, José Carretero, Jacinto Benavente, Armando Palacio, Mariano de Cavia, José Hernández Cata and French.

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Newspapers war and postwar few pages of a Conservation

In our shop in Barcelona, \u200b\u200bwhen a customer decides to purchase a copy newspaper between the years 1937 to 1950, he draws much attention poverty of its contents because this publication is composed of a single sheet or very few. Often this results in a surprise unpleasant impression because we expect a lot of informative content and many illustrations. In addition, most of these specimens are in poor condition. Therefore, it tends to a devaluation and fall into the mistake of an old newspaper is subject only be appreciated if many pages and you are in perfect condition.
This is a concept that should be removed because we are talking about a very special generation press with a format and characteristics that have given only once in the history of our country and respond to circumstances.

From the military uprising early Sunday 19 July 1936 sparked a revolutionary movement. The military barracks were looted to make weapons, and the working class trade unions affiliated to set up a process of collectivization of worker-controlled enterprises and dismissing the former managers. Thus, the vast majority of newspaper publishers association came under control, except those that disappeared entirely. During the second half of 1936, the papers went to kiosks in the same format without quality and quantity would see altered. From 1937 began the restrictions due to worsening of the war, a situation that would spread throughout the year and throughout 1938. Copies began to reduce the number of pages and only focus almost all their national and international information on the situation of Spain during the Civil War. Only the advertising and sports and entertainment section of leaking a bit of politics, but not much because of the concerts and charity tournaments. Those notes daily newspapers dedicated graphics on their pages or on the central front and back, now they would only once or twice a week, usually on Thursdays and Sundays. The published images of war in sepia were shocking and extraordinary, becoming a graphic report unique. The decree was met off Sunday and Monday followed the Official Provincial Road as a substitute for the newspaper. Besides reducing the number of pages and photographs, paper quality and even dropped some newspapers have reduced their smaller size format. Were symptoms of decay due to lack of financial resources.

In some cases, as the ABC was the paradox of the simultaneous existence of two editions: one by the national side Sevilla published in the republican side and another published in Madrid as a spokesman for Republican Union. While the first was informed of the progress of Franco's troops to reconquer the country, the second is talking about a few small victories they were, international support for the republican cause and fascism, the assistance offered by some countries and the resistance of the militias to the advancement of nationals. Indeed, in this case, not to discourage the Republican side and offer the real face of the situation, the news served to calm the citizenry of what medium time they expect. The pathos, the agony of resistance was reflected in the news these newspapers as a reflection of a snapshot of our history that we must never forget. On the Republican side, the Propaganda Ministry and the national side and the Delegation of Press and Propaganda were responsible for monitoring, or censor add in the daily press.

As Franco's troops were conquering territory, the newspaper editorials that were under union control returned to their former owners, but the Republican-leaning left or simply closed down. For example, Barcelona, \u200b\u200bLa Vanguardia on January 25, 1939 still was subtitled as a "service Journal of Democracy." After Franco's troops entered the city not issue any copy and on the 27th of January, the newspaper La Vanguardia was subtitled as "Diario the service of Spain and General Franco." On that day all the newspapers were allowed to re-edit under the conditions imposed by the new regime took a special edition of just two or four pages dedicated to the victory of General Franco. That date was Friday, and even the Official Road Monday took exceptionally a copy on the same day of the week, making a historical exception.

In the postwar period more immediately, the quality of the press even worse because many newspapers only consisted of a sheet or a sheet and a half, did not include any kind of image on the cover and the content was very dense, news briefs printed with a font size too small. As late as 1939, some newspapers offered graphic notes once or twice a week at most, and practically disappeared after 1940 with some exceptions, such as Sundays and holidays, the traditional festivals of the Christian calendar and other related special events identified as Franco commemorations. The victors learned that the media should play a social role of public service. Then developed the theory of social responsibility of media. The Press Law of 1938 was retained for the intense scrutiny of the publications. Its most important features were the censorship and so-called "orders" through which the Ministry of Information and Tourism could order the inclusion of articles, including editorials, with a particular trend or content. The headwaters of the newspapers represented the minimum that spoiled plurality among different. This was reflected in the press of the time. A From 1945 he began a slight improvement that lasted until the first half of the decade of 1950, reflected in an increase in the number of pages and the inclusion of photographs on the covers. However, it was not until the so-called "development" that things would change dramatically for the English press in general, but that is another story.
In short, the press published during the Civil War and the first stage of the war owes its uniqueness to the historical circumstances, which makes these papers appeared in a very difficult time in plants of great value, unique and unrepeatable because of the large difficulty of retrieving and because in very limited number are still there. A value that is not due to their quality, their size or volume, because of its history, its contents and what it represents, whose anniversary gift should be welcomed for the receiver to be a sensitive period different from the conventional past, a relic or museum piece. " Therefore we encourage our customers to shop without fear nor complex original copies of newspapers from the Civil War and the First World War.