{"id":21892,"date":"2025-03-12T09:00:00","date_gmt":"2025-03-12T08:00:00","guid":{"rendered":"https:\/\/www.11onze.cat\/?p=21892"},"modified":"2025-03-03T09:55:23","modified_gmt":"2025-03-03T08:55:23","slug":"best-advertising-our-history","status":"publish","type":"post","link":"https:\/\/www.11onze.cat\/en\/magazine\/best-advertising-our-history\/","title":{"rendered":"The best advertising in our history"},"content":{"rendered":"
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Catalonia is a country with a strong advertising tradition. Barcelona has been the birthplace of internationally renowned advertising agencies, which have been recognised for their creativity. Catalan advertising began more than 150 years ago. At 11Onze we take a look back at the best moments in our history.<\/b><\/h3>\n

 <\/p>\n

The first advertising company in Spain was founded in Catalonia by Rafael Rold\u00f3s<\/b> (1846-1918). His family was linked to the world of printing and he began his professional career as an advertising broker for the \u2018Diari de Barcelona\u2019 and soon founded Rold\u00f3s y Compa\u00f1\u00eda in 1872. The <\/span>exhibition<\/span><\/a> \u2018Publicitat a Catalunya 1857-1957. Rold\u00f3s i els pioners\u2019, which was shown at the Palau Robert, brings together all this legacy.<\/span><\/p>\n

Today, Rold\u00f3s S.A. is one of the oldest advertising companies in the world and for more than 100 years it was the example to be followed by the rest of the Catalan advertising agencies. The experience of Rold\u00f3s was joined by other advertising agencies, such as those of<\/span> Pere Prat Gaball\u00ed, Rafael Bori, Joan Aubeyzon, Jos\u00e9 Gard\u00f3 and Malcolm Thomson<\/b>, who helped to consolidate a profession that mediates between advertisers and the media. At first, of course, advertisements had almost no illustrations and the texts were straightforward. \u201cHair wash\u201d, \u201cBargain, really\u201d, \u201cPublic notice\u201d, \u201cGreat range\u201d were the common slogans to catch the readers\u2019 attention.<\/span><\/p>\n

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The rise of poster art<\/b><\/h3>\n

However, illustrations were gradually gaining ground.<\/span> Catalonia was also the first place in Spain where the modern poster appeared<\/b>. Industrialisation and the bourgeoisie were the main driving forces behind Modernisme, a highly charged and precious style, which also incorporated advertising, always in the latest fashion. Especially as a result of the Universal Exhibition of 1888, poster design spread throughout the country, where competitions were even organised. The book that best captures this history is undoubtedly the work directed by Carolina Serra, <\/span>\u2018Hist\u00f2ria de la publicitat de Catalunya\u2019<\/span><\/a> (History of Advertising in Catalonia), which highlights the importance of this sector.<\/span><\/p>\n

Thus, the first modernist poster is by Alexandre de Riquer for a photography brand in 1895. Others by <\/span>Lloren\u00e7 Brunet, Modest de Casademunt, Ramon Casas, Joan Llaver\u00edas and Francisco de Cid\u00f3n<\/b> will soon follow. Possibly the most recognised poster of the period is \u20184 gats. Pere Romeu\u2019 by Casas, in which we see Romeu at the bar of the famous Barcelona restaurant Els Quatre Gats looking directly at the reader. But there are others, such as those for An\u00eds del Mono or Codorniu.<\/span><\/p>\n

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War and repression: the emergence of new formats<\/b><\/h3>\n

With the spread of radio at the end of the 1920s, new advertising formats appeared that changed the whole face of advertising. Advertising was incorporated into the world of education and professionals began to organise themselves into associations. Poster design, moreover, took on a rationalist aesthetic and, especially during the Civil War, political messages and proclamations triumphed. The work of the Propaganda Commissariat of the Republican Generalitat to fight <\/span>fascism<\/span><\/a>, headed by <\/span>Jaume Miravitlles<\/b>, was particularly noteworthy at this time. From this period are <\/span>the well-known poster-photographs by Pere Catal\u00e0 i Pic and the transmedia campaign <\/b>\u201cEl m\u00e9s petit de tots\u201d<\/b><\/a>.<\/span><\/p>\n

After the Civil War, international isolation and repression led to the complete disappearance of Catalan in advertising. And it was not until the early 1950s that Catalan society once again showed an interest in consumerism. <\/span>Advertisements such as Potax and Cerebrino Mandri date from this period<\/b>. But 1956 was the year that marked a before and after, because it was when Televisi\u00f3n Espa\u00f1ola began its first broadcasts and new advertising agencies appeared that changed advertising formats forever.<\/span><\/p>\n

 <\/p>\n

The Olympic Games and the rise of the audiovisual industry<\/b><\/h3>\n

It was during the 1960s, 1970s and 1980s that advertising production, art and film were perfected. New ideas were explored, created, innovated and, finally, sold. It must be understood that, at that time, advertising teams had not studied any university degree:<\/span> they built the profession as they practised it<\/b>. This is how multidisciplinary teams were formed, with filmmakers, graphic designers, photographers, art directors, producers and commercials.<\/span><\/p>\n

From the simple messages of the 1960s, such as \u201cOMO lava m\u00e1s blanco\u201d, to filming would take only a few decades. With the advertising boom in the United States and the United Kingdom, the psychedelic photographs and montages of <\/span>Leopoldo Pom\u00e9s<\/b> triumphed. Possibly the most famous was for Terry cognac with the slogan <\/span>\u201cTerry me va\u201d<\/span><\/a>. Other notable names include <\/span>Jaime de la Pe\u00f1a and Pepe Fons<\/b> of Group Films. Pe\u00f1a won the Golden Lion at the Cannes International Advertising Film Festival for the 1979 advert <\/span>\u201cI Feel Lois\u201d<\/span><\/a>. <\/span>The Moro brothers<\/b>, who spread the use of the jingle, also made a name for themselves at that time. Theirs are the <\/span>\u201cEst\u00e1 como nunca\u201d<\/span><\/a> from Fundador (1960) or the Gallina Blanca advert from the same year, where a hen does a striptease for the camera.<\/span><\/p>\n

But it was from the 1980s onwards that everything took on a new dimension, culminating in a new image for Catalonia and Barcelona with the 1992 Olympic Games and the production of the <\/span>Olympic film by the production companies Ovideo, Group Films and Lolafilms<\/b>. At that time, the underground art of fanzines and cultural magazines had a major influence through illustrators such as <\/span>Mariscal and Nazario<\/b>. Group Films was joined by other agencies such as <\/span>MMLB, RCP and Bassat & Asociados<\/b>, and Barcelona became the advertising factory for Spain. Nenuco, Cruz Roja, Byly, Trex… By the 1990s, special effects and digital animation were incorporated, and continue to this day.<\/span><\/p>\n

Advertising is part of our collective memory.<\/b> That\u2019s why we still remember the song of the language campaign <\/span>\u201cParla sense vergonya\u201d<\/span><\/a>, the song <\/span>\u201cEnv\u00e0s, on vas?\u201d<\/span><\/a> or the sense of peace of the Audi advert with the slogan <\/span>\u201c\u00bfTe gusta conducir?\u201d<\/span><\/a>. We have even organised neighbourhood raids to get this year\u2019s La Merc\u00e8 <\/span>poster<\/span><\/a> or that of illustrator <\/span>Paula Bonet<\/span><\/a>. And every summer we eagerly await Estrella Damm\u2019s <\/span>\u201cMediterr\u00e0niament\u201d<\/span><\/a> advert; and every Christmas, the <\/span>La Grossa<\/span><\/a> and <\/span>Campofr\u00edo<\/span><\/a> ads. Advertising, whether we like it or not, explains us and makes us.<\/span><\/p>\n

 <\/p>\n

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