L'assiette au beurre, a leading pre-World War I Parisian journal of satire, constituted a crossroads for anarchism and modernism. In a period of rising censorship, the journal's artists employed strategies of inversion, allowing for pointed commentary, humor, and prosecutorial protection. This study reveals how modernist aesthetics were adaptable to political cartoons for working-class publications and the mutually reinforcing impact of political cartoons on modernist art. First discussing the anarchist movement in Paris and the role L'assiette au beurre played, this article explores these two modes of production through Kees Van Dongen's and Juan Gris's practice of ‘inversion’ in both realms.

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