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''L'Assiette au Beurre'' (literally ''The Butter Plate'', and roughly translating to the English expression ''pork barrel'') was an illustrated French weekly magazine of humor and satire that was chiefly produced between 1901 and 1912. It was revived as a monthly for a time and ceased production in 1936. The magazine's caricature and editorial cartoon content was drawn from a varied cadre of illustrator-contributors of many backgrounds and disparite artistic styles. The content often focused on socialist and anarchist ideas. The first series expired on 15 October 1912. A second series was published between 1921 and 1925 on a monthly basis, eventually becoming a single supplement. At the time of its founding near the start of the twentieth century, France was divided on crucial issues such as the extension of military service, revanchism (the call of French nationalists to avenge and reclaim from Germany the annexed territories of Alsace-Lorraine), right of association, separation of church and state, freedom of speech, and the emergence of new and radical political and social ideas in France such as revolutionary syndicalism, antimilitarism, anti-clericalism, Proletarian internationalism, feminism and the rise of labour law, which were all subjects of feature in the magazine. ''L'Assiette au Beurre'' is a valuable iconographic testament of the ''Belle Époque'' ("Beautiful Era") period in France, characterized by optimism, peace at home and in Europe, new technology and scientific discoveries. Georges Wolinski (killed in the terrorist attack on ''Charlie Hebdo''), indicated in 2011 that his magazine's work was the legacy of ''L'Assiette au Beurre''. ==Description== From its first appearance, ''L'Assiette au Beurre'' registered as a departure in form from other French humor publications. Each issue was made up of chiefly two- or three-color-inked cartoons and caricatures, given full- or sometimes double-page placement (instead of the more common quarter page real estate granted to such content in related French publications), with each installment containing a minimum of 16 illustrated pages. Special editions held up to 48 pages. Images were published from original drawings using a zincography, planographic printing process. Periodically, a single artist was chosen for an issue to provide a variety of panels on a specific topic, making that issue a veritable collected album for that illustrator. Sometimes a team was employed as well. According to Kevin C. Robbins in '' Roving Anarchists Flâneurs: The Visual Politics of Popular Protest via Parisian Street Art in ''L'Assiette au beurre'' (1900-1914)'', "For the most sardonic of multi-media exploits, ''Assiette'' staff paired artists with noted, left-wing essayists, poets, or novelists who provided suggestions for timely or provocative captions for each image submitted." 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「L'Assiette au Beurre」の詳細全文を読む スポンサード リンク
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