The Early Years
 Mahmoud Kahil, born in Tripoli, North Lebanon discovered a
talent for caricature at a very young age.
Kahil pursued his academic career at the American University of
Beirut, but soon after changed paths when he started
working as a graphic designer in an advertising agency in Beirut. Kahil then
joined the weekly magazine ‘Al Usbu Al-Arabi’ as a layout designer
where his first cartoons were published.
The 1960's saw Kahil's early cartoons while working with various
publications as an Art Director, but it wasn't until the early
1970's that he dedicated all his time to drawing editorial cartoons,
mainly in color, for the political weekly English-language magazine
Monday Morning.
The Lebanese Civil War
 Up until the outbreak of the civil war in Lebanon in 1975, Kahil was
able to publish his works in several renowned publications,
including the English-language newspaper The Daily Star.
The war prevented him from pursuing his career and decided, like so
many others, to leave for London in 1979 where he began working with Asharq Al-Awsat
and Arab News and Al-Majalla magazine.
Kahil also became the chief cartoonist for the monthly
English-language journal Middle East International.
Kahil’s Style
 From the heart of London, Kahil was able to better reach the world
with his biting humour. During the 1982 Israeli invasion of Lebanon,
some of his best drawings were exhibited to great acclaim.
He gradually developed a style where visuals were more important
than words. Many of his fans will remember his scathing cartoons of
former Israeli Prime Minister Menachim Begin and Israeli Defence
Minister Ariel Sharon - all recurring sources of Kahil’s satire.
He is also remembered for the small, black crow that used to appear
in all of his earlier cartoons. “The crow was a symbol of the
wayward state of Arab politics.” (Ghassan Joha, Star Staff Writer)
In the early 1990’s Kahil suddenly stopped drawing his crow.
However, many believed and agreed that he was particularly upset
at the deteriorating Arab political relations that were aggravated
during the 1991 Gulf War. He was once quoted saying that his
cartoons are a reflection of what is taking place on ground. “After
the Gulf war, Kahil believed the crow was no longer needed since the
Arab state of affairs was locked in a pool of stagnation.” (Ghassan
Joha, Star Staff Writer)
A Humanist
 "Kahil was at heart a humanist. He cared for the poor, the oppressed
and the dispossessed. It did not matter what the ethnic or religious
beliefs these people held," wrote Arab News' Editor in Chief, Khaled
Al-Maeena in Kahil's obituary.
The caricature was his solitary weapon in fighting oppression and
wrongdoing. He also saw it as a way of searching for the truth which
lies inevitably behind closed doors.
He was a great supporter of the Palestinian people and their just
cause for independence.
His most lasting and important legacy as an effective cartoonist is
the way in which his caricatures, with remarkable simplicity,
familiarized the world with the Arab reality and highlighted the
issues that are vital for the Arab people.
Kahil was a visual journalist, educating as much as entertaining.
Whether his readers agreed or disagreed with Kahil’s views, his
cartoons left a lasting impression. They were intelligent, sometimes
painful and sometimes amusing, but above all, always insightful and
thought-provoking.
Mahmoud Kahil died unexpectedly at the age of 66 from complications
during a heart surgery in London on 11th February, 2003. |
