Galician sea was included as a theme in her work. During the fascist uprising, Mallo was in Vigo and managed to escape to Portugal. With the help of Gabriela Mistral, Chilean ambassador in Lisbon, could travel to Americas, where she was in touch with Seoane. Other artists marked by the war were Francisco Miguel, killed in 1936; he worked with Siqueiros and illustrated works by Borges and Mistral. The painter Urbano Lugrís, son of Lugrís Freire, an intellectual contrary to Franco, was forced to take the side of fascism, like other artists. He also worked on set designs and architecture, such as the Surrealist chapel of Magi, in Bueu. Scenography and Theater In the 1920s, members of Irmandades were involved in theater and founded Escola Dramática Galega, with notable playwrights such asCotarelo Valledor and Vicente Risco. Noriega Varela and Cabanillas bridged the gap between 19th century and the avant-gardes. Cabanillas assimilates the poetry of Curros, Rosalía de Castro and Pondal, also taking modernist elements. Rafael Dieste was the most prominent author in the Generation of 25, and the scenography was diverse, with surrealist and symbolist elements. Lorca founded La Barraca in the early 1930s where Lugrís and Ernesto G. da Cal participated in the scenography. Lorca wrote Six poems in Galician in 1935 as a result of his friendship with Galician artists. The graphic humor Galician humor and satire have a long tradition, from sneering medieval poems to modern-day comics (the first Galician comic strips are published in 1888 and in the first decades of XX drawing was analysis tool in the key of socio-political criticism or charge). Authors like Risco and Otero Pedrayo, who portrayed Diego Gelmires as a comedian, used satire to comment on Galician society. Pioneers of puppetry like Barriga Verde reflected with humor the quarrels between Galicians and Portuguese, as Gabriel Feijóo had done centuries before. Artists like Maside and Díaz drew inspiration from illustrations and caricatures of Central European humor. Castelao and Luis Bagaría (although Catalan by birth, he was a close friend of a lot of Galician artists) were two of the most influential graphic humorists in Galicia, and Vázquez Díaz combined classic portraits in sculpture with satire in his penguin, closely linked to surrealism, for which he suffered censorship. Legacy The renewal of art influenced the next generation of Galician artists, called by some Segundos Renovadores. The exiles then participated in new forms