Abstract
The look of the popular culture to art has always had for the creator the contrariety of the mockery and the reward of the diffusion, to make itself known in the new media of masses multiplying its public, halfway between the admiration and the ridiculous. Painters and sculptors checked it for the first time at the end of the 19th century, between official and specialized criticism and the most popular and apparently less objective of comediansand their humorous interpretations. One of these artists was the young Pablo Ruiz Picasso, with some unknown graphic criticism that give new information on the complexity of his first Spanish artistic stage and theimportance of illustrated magazines in the visual culture of his beginnings and in his professional world. The data collected in the hemerography of the time make up a narrative different from the one officially admitted
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