Caricature and satire were often used in posters and other graphic media during the Civil War, in line with both the journalistic tradition of graphic humour existing prior to the war and also the critical practices of artists such as Francis Picabia and George Grosz. One of the most caricaturised figures, besides Franco, was Queipo de Llano (1875-1951), a general active in the fascist uprising.
Such is the case of this poster, which follows the practice of the "aleluyas" (an early form of comic strip) that, starting in the 19th century, were very widespread in Spain and, especially, Catalonia, where they were known as ""aucas"". It tells of the outrages of a drunken, womanising, thieving and bloodthirsty general in an irreverent, acidic style.
Its formal simplicity is reminiscent of xylography, but also of the synthesism and schematic delineation of the lessons of the avant-gardes that filtered to the mass media, along a two-way street, as seen in the fact that one of Guernica's precedents is the series of etchings Sueño y mentira de Franco (1937), 18 vignettes in which Picasso depicts a contemptible Franco, under the influence of surrealism and Alfred Jarry, associated with the Catholic Church and the traditionalist bourgeois.