"in order to have an everlasting peace, the world needs to get rid of its biggest torturer: capitalism"
The Italian diaspora as told through the magazine L'Asino: Galantara's drawings between emigration and dissent
As an art collector with the largest collection of Gabriele Galantara's original works, I aim to showcase how his illustrations in L'Asino magazine captured the experiences of Italian emigrants and expressed political dissent during the late 19th and early 20th centuries.
We are looking for academics, foundations, and institutional partners to build the first digital archive of the magazine, which might be the perfect tool to reconstruct Italian and European history through the images of this exceptional artist.
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L'Asino, founded in 1892 by Guido Podrecca and Gabriele Galantara, was a prominent Italian satirical magazine known for its socialist and anticlerical stance. The magazine's title, "The Donkey," was inspired by Francesco Domenico Guerrazzi's saying that "the donkey is like the people: useful, patient, and stubborn." Galantara's sharp illustrations played a crucial role in conveying the magazine's critiques of political corruption, social injustices, and the challenges faced by Italian emigrants.
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​During its publication, L'Asino reached a wide audience, including Italian immigrants in the United States. The magazine provided these communities with a connection to their homeland and a critical perspective on the socio-political issues of the time. However, due to its anticlerical content, L'Asino faced censorship; in 1908, the papal nuncio in Washington, D.C., succeeded in having it banned from entry into the United States. This led to creating an American edition printed in New York City to circumvent the ban.
"If Germany does not pay, we will get more blood flowing in Europe"
L'Asino, Italian Emigration, and the Modern Critique of Capitalism
Gabriele Galantara’s satirical magazine L’Asino played a crucial role in exposing the hardships of Italian emigrants, depicting them as victims of political negligence and economic exploitation. The magazine criticized the Italian government for failing to create viable opportunities at home, forcing millions to seek a better life abroad under harsh conditions.
It also targeted the capitalists and banks that profited from this mass migration, portraying them as ruthless profiteers indifferent to human suffering. This critique—of how financial elites manipulate economic crises for their own gain—was strikingly modern, foreshadowing contemporary discussions on wealth inequality, labor exploitation, and systemic failures in governance. L’Asino’s sharp visual and textual satire remains a powerful example of how political cartoons can challenge authority and expose deep societal injustices.
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Galantara’s critiques also resonate with modern economic crises, where financial speculation and unchecked capitalism continue to drive inequality and displacement. L’Asino’s denunciation of banks and elites exploiting workers remains relevant in today’s discussions on globalization and economic instability.
The Banker and the saver
L’Asino, the Treaty of Versailles, and the Cycles of War—From 1919 to Europe Today
After World War I, L’Asino fiercely criticized the Treaty of Versailles, arguing that it was not a true peace settlement but rather a breeding ground for future conflicts. The magazine depicted the treaty as a tool of imperialist powers, punishing defeated nations while allowing economic exploitation and nationalist resentment to fester. Galantara’s satirical drawings highlighted how the harsh reparations imposed on Germany and the redrawing of borders sowed the seeds for World War II. This historical lesson is strikingly relevant today, as the unresolved tensions of war and geopolitical struggles—seen now in Ukraine—demonstrate how poorly managed peace deals can lead to prolonged instability. Just as Versailles failed to secure a lasting peace, the world today faces the challenge of ensuring that post-war settlements do not simply set the stage for future conflicts.
Fascism: the State it is ME !
L’Asino vs. Mussolini: Satire Against Fascist Violence
L’Asino was a vocal opponent of Benito Mussolini and the rise of fascism, using satire to expose the violence, hypocrisy, and authoritarianism of the regime. As Mussolini’s Blackshirts spread terror through Italy with beatings, assassinations, and intimidation of political opponents, the magazine depicted fascism as a brutal force that silenced democracy and crushed workers' rights.
Galantara’s illustrations ridiculed Mussolini’s cult of personality, portraying him as a demagogue who manipulated nationalism and fear to seize power. However, as fascist repression intensified, L’Asino itself became a target—eventually forced to shut down in 1925 under Mussolini’s crackdown on free press. The magazine’s fearless criticism remains a powerful reminder of how satire can challenge dictatorships and how violence is often the tool of regimes that fear dissent.
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"I will get it or I won't get it" Mussolini and the crown of Italy
How the black jackets want to support the State
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