purest form to more closely resemble art. De Greiff described the purpose of the panidas in these words: The artistic group published a quincenal literary magazine called Panida in February 1915. This short lived publication of only ten issues was illustrated by Ricardo Rendón first directed by de Greiff, and later by Félix Mejía Arango. De Greiff had its works published for the first time in this magazine under the pen name Leo le Gris, the first one being his Ballad of the Mad Owls. No sooner had the magazine been published than the Roman Catholic Church in Colombia banned for fear of corrupting the youth with its pernicious and extravagant content. The public reception was not welcoming either, the writing style of de Greiff and the other panidas was at the vanguard of its time, but too far-off from what mundane Colombian society was familiar with. It did however earn the praise and support of prominent Medellín literati such as writer Tomás Carrasquilla and journalist Fidel Cano Gutiérrez. The magazine went out of circulation in June, mostly due to the dispersion of the panidas. De Greiff moved to Bogotá, and many others went into business leaving their artistic aspirations behind. Others chose the nihilist path of suicide. In 1925, when he published his first book Tergiversaciones, de Greiff dedicated it to the memory of "The 13 Panidas". Los Nuevos In 1925 now in Bogotá, de Greiff was now a regular of the tertulias that gathered in the Windsor café and part of the publication of a new vanguard magazine called Los Nuevos (es:The New Ones). Directed by Felipe and Alberto Lleras Camargo, de Greiff worked with other writers such as Jorge Zalamea and Germán Arciniegas among others as regular contributors to the magazine. Los Nuevos was of political, artistic, literary and social content, and aimed to challenge the remnants of exhausted romanticist writings, regionalist politics, and conservative society. This movement followed the path that the panidas had begun in Medellín and that was a representation of modernismo in Colombia much like the ultraist movement in Spain. Influenced by Vicente Huidobro, de Greiff followed creacionismos standards of poetry, reinventing himself to make each poem unique, translatable, and truly poetic. His poetry is sometimes criticized as standoffish and intricate. He was devoted to the artistic form of poetry. Mamotretos Starting with his first book Tergiversaciones in 1925, every one of his