Editorial cartoons have long served as a powerful medium for political and social commentary. With a single image and a few words, cartoonists can encapsulate the mood of an era, sway public opinion, and even ruffle the feathers of the mighty. Below, we highlight 20 of the most influential editorial cartoonists—spanning different countries, historical periods, and cultural perspectives—who left an indelible mark on public discourse and the cartooning industry.

James Gillray (England, 1756–1815)

Often called the father of the political cartoon, James Gillray set the standard for graphic satire in the late 18th century.¹² Working in an era when prints were sold in London shop windows, he mercilessly lampooned kings, prime ministers, and even Napoleon Bonaparte. Gillray’s style was grotesque yet meticulously detailed, mixing crass comedy with powerful imagination.³ His famous 1805 cartoon “The Plumb-Pudding in Danger” depicted British PM William Pitt and Napoleon carving up the globe, a biting comment on imperial ambition (and regarded by later cartoonists as “probably the most famous political cartoon of all time”.⁴ Gillray’s influence on later generations was immense—he popularized the use of speech balloons and inspired countless cartoonists in Britain and abroad.⁵ Even today, his biting visual metaphors continue to be echoed by modern satirists, cementing Gillray’s status as a pioneer of editorial cartooning.⁶

Honoré Daumier (France, 1808–1879)

Honoré Daumier was a French caricaturist whose lithographs skewered the social and political life of 19th-century France with witty realism and sharp satire.⁷ Working under shifting regimes from the 1830s to 1860s, Daumier fearlessly targeted governmental corruption and bourgeois follies alike. In 1832, one of his cartoons so enraged King Louis-Philippe that Daumier was jailed for six months⁸ – a testament to the sting of his pen. His drawings, often published in papers like La Caricature and Le Charivari, offered “widely recognized social and political commentary” in his day.⁹ Daumier’s style blended realism with satire: he caricatured politicians as pompous gargoyles and depicted everyday Parisians with empathetic humor. Through thousands of lithographs (nearly 4,000 in total), he pushed boundaries of press freedom and highlighted injustices. Dubbed “one of the most widely recognized social and political commentators” of his era.¹⁰ Daumier influenced not only fellow artists (earning comparisons to authors like Balzac) but also the very notion that cartoons could challenge authority. His legacy lives on as an early champion of using art to speak truth to power.

Thomas Nast (United States, 1840–1902)

Thomas Nast is often celebrated as the “Father of the American Cartoon”, whose 19th-century drawings wielded extraordinary influence in U.S. politics.¹¹ Working for Harper’s Weekly during the Civil War and Gilded Age, Nast took on corruption and injustice with bold, meticulously cross-hatched cartoons. He became most famous for his crusade against New York’s Tammany Hall political machine led by “Boss” Tweed. Nast’s relentless visual attacks – portraying Tweed as a corrupt bloated figure and the Tammany tiger mauling democracy – helped spur public outrage that ultimately brought down the Tweed Ring.¹² As one contemporary noted, “he swayed [the public] time and again… and helped destroy the corrupt Tweed Ring”.¹³ Beyond local politics, Nast’s imagery influenced national discourse: he popularized the Republican elephant and Democratic donkey symbols still used today,¹⁴ and his advocacy for abolition and civil rights earned praise from President Lincoln. With a combination of bold visual imagination and moral fervor, Nast “wielded more influence than any other artist of the 19th century” in shaping public opinion.¹⁵ His cartoons not only entertained but “profoundly affected the outcome of every presidential election from 1864 to 1884”.¹⁶ Nast’s legacy endures in American political iconography and in the very idea that a cartoonist can be a force of reform.

Sir David Low (New Zealand/United Kingdom, 1891–1963)

A transplanted New Zealander in London, Sir David Low became one of the most acclaimed editorial cartoonists of the 20th century for his incisive depictions of world leaders in the 1930s–40s. Low was a staff cartoonist for the Evening Standard and gained renown for his relentless satirizing of fascism. He famously created “Colonel Blimp,” a cartoon character skewering reactionary attitudes, but it was his depictions of Adolf Hitler and Benito Mussolini that truly resonated. Low’s bold cartoons lambasted the Nazi and Fascist regimes so effectively that he was banned in Nazi Germany and Fascist Italy, and even named on Hitler’s blacklist for arrest.¹⁷ One 1939 Low cartoon, “Rendezvous” (showing Hitler and Stalin bowing politely over the corpse of Poland), became iconic for its critique of the cynical Nazi-Soviet Pact. Low’s style featured clean bold lines and strong compositions that delivered clear messages at a glance. His work during World War II boosted public morale in Britain; Prime Minister Winston Churchill reportedly appreciated Low’s scathing portrayals of the enemy. Low’s influence on the craft was enormous: he set a high standard for political courage in cartooning. Later cartoonists lauded his output as some of the most effective anti-totalitarian art of the era. By using humor and horror in equal measure against dictators, David Low showed how a cartoonist could challenge tyranny – earning him a reputation as one of the greatest editorial cartoonists in history.

Herbert Block “Herblock” (United States, 1909–2001)

Herb Block, known by his pen name “Herblock,” was an American cartoonist whose career spanned an astonishing seven decades (1929–2001).¹⁸ As the longtime editorial cartoonist for the Washington Post, Herblock used his pen to champion the little guy and jab at those in power through the Great Depression, World War II, the Cold War, and beyond. He had a bold, stark drawing style and a gift for pinpointing hypocrisy. Herblock coined the term “McCarthyism” with a 1950 cartoon that lampooned the era’s anti-Communist hysteria.¹⁹ In doing so, he challenged the fear-mongering tactics of Senator Joseph McCarthy and helped turn public sentiment against McCarthy’s excesses.²⁰ Throughout his career, Herblock consistently took on issues like civil rights, the Vietnam War, environmental pollution, and the Watergate scandal. His 1973 cartoon “Watergate” (depicting Nixon leaving the White House in a rainstorm with the caption “Have Faith in Watergate”) famously drew attention to the unfolding cover-up. Politicians often felt the sting: Herblock’s caricatures of figures like Richard Nixon (whom he drew with a perpetual five-o’clock shadow) became part of their public image. He won an unprecedented three Pulitzer Prizes for his work.²¹ Active into his 90s, Herblock proved that editorial cartoons can be a sustained form of civic engagement. As one biographer noted, in the realm of 20th-century editorial cartooning, “the 20th century belonged to him”²² – a tribute to Herblock’s dominance and impact on American political dialogue.

R. K. Laxman (India, 1921–2015)

Rasipuram Krishnaswamy Laxman, better known as R. K. Laxman, was India’s most beloved and influential editorial cartoonist, revered for his common man’s perspective on daily life and politics. For over five decades, Laxman’s cartoon strip “You Said It” in The Times of India provided millions of Indians with a daily dose of humor and insight.²³²⁴ At the center of his cartoons was “The Common Man,” a silent, bespectacled everyman character who observed the absurdities of politicians and society. Through this mute witness, Laxman captured the voice of the average citizen with gentle irony. His style was deceptively simple – clean line drawings, often in a single-panel format – yet his satire was penetrating. Laxman’s cartoons became “a snapshot of the most important event of the day,” summarizing issues without heavy partisanship.²⁵ Whether commenting on government incompetence, corruption, or social change, he allowed readers to laugh at the chaos of Indian democracy while reflecting on it.²⁶ So great was Laxman’s influence that he was often called “the country’s most famous cartoonist,” credited with capturing the “hopes, dreams, disappointments, and foibles” of the Indian public.²⁷ In recognition of his contribution to social commentary, he was honored with national awards (including the Padma Vibhushan). Generations of Indians navigated news events through Laxman’s drawings, making him a true cultural icon whose Common Man became the conscience of the nation.²⁸

Pat Oliphant (Australia/United States, 1935– )

Pat Oliphant is a Pulitzer Prize-winning cartoonist whose razor-sharp pen spared no leaders on the global stage. Born in Australia, Oliphant moved to the U.S. in the 1960s and quickly rose to prominence as one of the most influential editorial cartoonists of his time.²⁹ The New York Times in 1990 described him as “the most influential editorial cartoonist” then working.³⁰ Over a career spanning 60+ years, Oliphant produced thousands of cartoons noted for their exquisite draftsmanship and scathing wit.³¹ His style is instantly recognizable: fluid ink lines with cross-hatched shading, often accompanied by his tiny penguin sidekick “Punk” delivering a sarcastic comment in the corner. Oliphant’s targets ranged from U.S. presidents (he drew Nixon, Reagan, Bush, and others with unflattering precision) to international figures. He became “the most widely syndicated political cartoonist on the planet” by the end of the 20th century,³² appearing in hundreds of newspapers worldwide. Other cartoonists admired and imitated his “gravelly” drawing style and fearless approach.³³ Not one to mince words (or images), Oliphant courted controversy with depictions that some found offensive, but he also garnered many honors, including the 1967 Pulitzer Prize. His influence on the art form is evident in the generation of cartoonists who emulated his bold visual metaphors and independent syndication model. To this day, Pat Oliphant is celebrated for combining artistic excellence with uncompromising satire, securing his place among the greats of editorial cartooning.³⁴

Joaquín Salvador Lavado “Quino” (Argentina, 1932–2020)

Joaquín Lavado, known by his nickname Quino, was an Argentine cartoonist whose creation “Mafalda” transcended borders and became a cultural phenomenon. Quino’s comic strip Mafalda (which ran from 1964 to 1973) featured a precocious 6-year-old girl who was deeply concerned about world peace, human rights, and social justice.³⁵ Through Mafalda’s innocent yet pointed questions to her parents and friends, Quino managed to critique the turbulent 1960s – touching on feminism, communism, the Vietnam War, consumerism – all from a child’s perspective. This unique approach made heavy issues accessible and gently humorous. Mafalda’s popularity exploded across Latin America and into Europe; the strip was widely translated and beloved in Spain, Italy, and beyond.³⁶ In an era of political repression (with dictatorships looming), “Mafalda was a revolutionary” in the way it championed democracy and common sense values through a child’s eyes.³⁷ The character Mafalda, who “constantly questioned adults on things like war [and] politics”,³⁸ became an icon of idealism and dissent. Quino’s broader body of work also included many one-panel cartoons with satirical takes on human nature, drawn with a clean style and often without words. He received numerous accolades, including Spain’s Prince of Asturias Prize. By inspiring readers to think critically (and laugh) about societal issues, Quino left an enduring legacy as one of Latin America’s most influential social commentators. Decades later, Mafalda merchandise and reprints remain popular, attesting to Quino’s impact in shaping minds with wit and warmth.

Ranan Lurie (Israel/United States, 1932–2022)

Ranan Lurie was a globetrotting political cartoonist whose work was syndicated in hundreds of newspapers worldwide, making him one of the most widely read cartoonists ever. Born in Port Said to an Israeli family, Lurie went on to draw for publications on nearly every continent, from Life magazine and Time to newspapers across Europe, Asia, and Africa. At the height of his career in the 1970s and 1980s, Lurie’s cartoons reached an estimated 300 million readers. His style was characterized by clean lines and often incorporated universal symbols (like doves, olive branches, globes) to comment on international affairs in an easily understood way. This cosmopolitan approach earned him a unique status as a “cartoonist without borders.” Lurie frequently tackled themes of peace and global cooperation—indeed, he founded the United Nations’ annual political cartoon award which bears his name. In 2012, he became the first non-American to receive the U.S. Thomas Nast Award for international excellence in cartooning.³⁹ Lurie prided himself on objectivity and avoided overt viciousness, which allowed his work to be published even in countries that disagreed politically. He also met and sketched numerous world leaders. While perhaps less known to the general public by name, within the industry Ranan Lurie was hugely influential: he demonstrated that editorial cartoons could cross language barriers and influence global conversations. His legacy is one of using the art of caricature as a form of international dialogue, earning him accolades and a lasting place in the pantheon of influential cartoonists.

Naji al-Ali (Palestine, 1938–1987)

Naji al-Ali is revered in the Arab world as a martyred truth-teller whose cartoons gave voice to the plight of Palestinians. A refugee himself, Naji al-Ali drew over 40,000 cartoons highlighting the struggles of ordinary Palestinians amid war and exile. His most famous creation was Handala, a barefoot 10-year-old refugee boy who is always drawn from behind, witnessing the world’s injustices silently. Handala, introduced in 1969, became the iconic symbol of Palestinian defiance and identity⁴⁰⁴¹ – a character now seen in murals, graffiti, and protests across the Middle East. Naji al-Ali’s cartoons, published in newspapers in Kuwait, Lebanon, and beyond, were admired for their bold “boldness, outspokenness, and humanity”.⁴² Working mostly without captions, he used stark imagery and irony to condemn human rights abuses, corruption among Arab leaders, and the Israeli occupation. Such was his impact that his work was “revered throughout the Arab region” and he was considered “one of the most influential Arab artists” of the mid-20th century.⁴³ Unfortunately, his outspokenness likely led to his assassination in London in 1987 by unknown assailants, silencing a powerful voice. Yet Naji al-Ali’s influence endures: Handala remains a ubiquitous emblem of steadfast resistance,⁴⁴ and generations of Middle Eastern cartoonists cite Naji as an inspiration for using satire to speak for the oppressed. In life, he paid the ultimate price for his art; in legacy, he stands as a symbol of the courage of cartoonists under repressive conditions.

Ali Ferzat (Syria, 1951– )

Ali Ferzat is a Syrian cartoonist who became a symbol of artistic resistance during the Arab Spring. Long celebrated in the Middle East for his caricatures critiquing authoritarianism, Ferzat reached a turning point in 2011 when he openly satirized Syrian president Bashar al-Assad. Ferzat’s drawings — which often used clever visual metaphors without captions — captured the frustrations of the Syrian people. In August 2011, as pro-democracy protests surged, Ferzat published cartoons mocking Assad’s empty reforms. In retaliation, masked regime thugs brutally attacked him: his hands were broken, an attempt to permanently silence his pen.⁴⁵ The image of the beaten cartoonist sent shock waves around the world. Ferzat survived and went into exile, continuing to draw. “One of Syria’s most famous artists,” Ferzat had long been known for targeting not only Assad but other Arab dictators like Gaddafi and Saddam Hussein.⁴⁶ His work, appearing in newspapers like Al-Thawra and through his satirical magazine al-Domari, used a deceptively simple, flowing line style and often no text, thus evading censors and speaking universally. During the uprising, his cartoons were held aloft by protesters – a testament to how his “images of defiance helped mobilise Syrians to revolt”.⁴⁷ After the attack, Ferzat’s determination to keep drawing (he quipped that “fear has been defeated in Syria”⁴⁸ made him an icon of free expression. In 2012, he won the Sakharov Prize for freedom of thought. Ali Ferzat’s courage and artistry have inspired cartoonists in the Middle East and beyond to continue using satire as a weapon against tyranny, even under dire threats.

Zapiro – Jonathan Shapiro (South Africa, 1958– )

Jonathan Shapiro, who signs as “Zapiro,” has been the preeminent editorial cartoonist in South Africa for decades, charting the nation’s journey from apartheid to democracy with caustic humor and fearless insight. Zapiro’s cartoons are a staple in South African media (featured in Mail & Guardian and The Sunday Times among others) and have often put him at odds with the powerful. An anti-apartheid activist in his youth, Zapiro initially used his art against the apartheid regime. After 1994, he turned his pen on the new leaders of the Rainbow Nation, including the very heroes of the liberation. His persistence in holding the African National Congress government accountable is legendary. For example, Zapiro famously drew President Jacob Zuma with a showerhead attached to his head – a reference to Zuma’s misguided comment about HIV prevention – and continued to draw the shower on Zuma in cartoon after cartoon.⁴⁹⁵⁰ The “showerhead” caricature became so iconic that readers protested on the rare occasion Zapiro omitted it.⁵¹ Zapiro’s style is vibrant and detailed, often packing multiple panels or speech bubbles, which allows him to tell a story or drive home a point with biting satire. He has faced multiple lawsuits from those he’s lampooned (including a high-profile defamation suit from Zuma over a controversial “Lady Justice” cartoon), yet he has remained undeterred. Described as “South Africa’s most famous political cartoonist”,⁵² Zapiro has won international awards for courage in editorial cartooning. His work, whether skewering corruption, incompetence, or inequality, has deeply influenced public debate in South Africa. By blending outrage with wit, Zapiro exemplifies the role of the cartoonist as a watchdog of democracy in a rapidly changing society.

Ann Telnaes (United States, 1960– )

Ann Telnaes is an American cartoonist known for her bold, expressive style and as a trailblazer for women in editorial cartooning. In 2001, Telnaes became only the second woman ever to win the Pulitzer Prize for editorial cartooning,⁵³ a field traditionally dominated by men (fewer than 5% of editorial cartoonists were female at the time).⁵⁴ Her win was a milestone that signaled a welcome broadening of voices. Telnaes’ work, featured by The Washington Post and syndicated widely, is distinctive for its dynamic, fluid lines – she often uses an ink brush – and her uncompromising point of view. She has a knack for distilling complex issues into powerful visual analogies. For example, Telnaes gained attention for her cartoons during the 2000 U.S. presidential election recount, caricaturing the players in striking compositions that the Pulitzer committee praised for “originality, editorial effectiveness, quality of drawing, and pictorial effect”.⁵⁵ Her drawings have tackled everything from terrorism to women’s rights, sometimes through traditional static cartoons and other times through animated political cartoons (a medium in which she’s been an innovator). Telnaes’ perspective as a woman often brings added layers – she has boldly addressed topics like reproductive rights and sexism in politics. Over her career, she has collected accolades (including the Reuben Award for Cartoonist of the Year in 2016). Perhaps equally important, Ann Telnaes has been vocal about the challenges in her profession, becoming a mentor and advocate for newcomers. By breaking barriers and maintaining unflinching commentary, Telnaes has influenced both the content of editorial cartoons and the diversity of those creating them.

Patrick Chappatte (Switzerland/Lebanon, 1967– )

Patrick Chappatte is a globally minded cartoonist whose work illustrates the power of satire across cultures. Of mixed Swiss and Lebanese heritage, born in Pakistan and raised in multiple countries, Chappatte brings a cosmopolitan perspective to his cartoons. He has drawn for international outlets like the International New York Times/Herald Tribune, Le Temps (Geneva), Newsweek International, and Germany’s Der Spiegel. Chappatte’s cartoons often address geopolitics and technological change with a sly humor and clarity that transcend language barriers. He is also a pioneer of graphic journalism – reporting stories through comic strips – having produced reportage cartoons on conflict zones and social issues around the world. Beyond his published cartoons, Chappatte has had a significant influence on the profession: he is a co-founder (with French cartoonist Plantu) of the Geneva-based foundation Cartooning for Peace, established with support from Kofi Annan in 2006.⁵⁶ Through this network of editorial cartoonists from many countries, Chappatte helps promote freedom of expression and provides support to cartoonists facing persecution. He was also notably the first non-American to win the Overseas Press Club’s Thomas Nast Award (in 2012) for international excellence in cartooning.⁵⁷ Chappatte’s style is elegant and economical, often rendering complex international issues into a single compelling image. In recent years, he has been an outspoken defender of editorial cartoons after some high-profile controversies (such as the New York Times ending political cartoons in its international edition). His career demonstrates how a cartoonist can function as a kind of ambassador: using humor to bridge divides while also standing up for the principle of free press across the globe.⁵⁸ Through both his art and activism, Patrick Chappatte has significantly shaped contemporary editorial cartooning on a global scale.

Plantu – Jean Plantureux (France, 1951– )

Jean Plantureux, known as Plantu, was the star cartoonist of France’s Le Monde for over 40 years and has been a leading voice for peace and freedom through cartooning. Plantu’s first drawing for Le Monde appeared in 1972,⁵⁹ and by 1985 he was regularly gracing the newspaper’s front page with his cartoons on world events. With a gentle line style and often densely packed scenes, Plantu commented on French politics, European affairs, and global issues with wit and humanity. One of Plantu’s most remarkable achievements came in 1991: he managed to get Yasser Arafat and Shimon Peres to jointly sign one of his drawings.⁶⁰ The cartoon – a simple sketch of a peace dove – was signed by the Palestinian and Israeli leaders a year before the Oslo accords, symbolically showing art’s power to bring foes together (this earned Plantu a special award). In 2006, recognizing the need to defend editorial cartoonists under threat, Plantu teamed with UN Secretary-General Kofi Annan to found Cartooning for Peace, an international organization promoting mutual respect and free expression through cartoons.⁶¹ This network has grown to include over 140 cartoonists worldwide and is active in advocacy and education. Through Plantu’s initiative, annual prizes and events highlight cartoonists who risk their lives for their art. As a cartoonist, Plantu is known for recurring motifs like drawing a small mouse in the corner commenting on the scene, and for infusing his work with empathy even when criticizing. By the time he retired from Le Monde in 2021, Plantu had created more than 14,000 cartoons,⁶² influencing French public discourse on everything from elections to international crises. His legacy is not only the body of work he produced but also his efforts to leverage that work in the service of peace and freedom of the press.

Lat – Mohammad Nor Khalid (Malaysia, 1951– )

Mohammad Nor Khalid, affectionately known as Lat, is a Malaysian cartoonist whose work has brilliantly portrayed the nation’s social fabric and bridged ethnic divides through humor. Lat’s seminal cartoon memoir “The Kampung Boy” (1979) and its sequel “Town Boy” recounted his own life from a rural village (kampung) to the city, and became international hits.⁶³⁶⁴ With a keen eye for cultural detail and gentle satire, Lat illustrated the everyday experiences of Malaysians—Malay, Chinese, Indian and others—in a way that resonated deeply with readers. His comic strip “Scenes of Malaysian Life” ran for decades in the New Straits Times, translating current events and political issues into relatable domestic vignettes. Lat’s trademark style features rounded, friendly characters (often drawn with his signature “three-loop” noses for Malay characters) and an uncanny ability to capture local dialects and mannerisms in captions.⁶⁵ Importantly, his cartoons remained accessible and unbiased: he poked fun at society’s quirks without overtly skewering anyone, which helped his work be widely accepted across communities.⁶⁶ Lat is often credited with helping promote social harmony and understanding through his cartoons – so much so that he was awarded the honorific title of Datuk in 1994 for his contributions.⁶⁷ Generations of Malaysians grew up with Lat’s cartoons, and many other Asian cartoonists cite him as an influence for his authentic storytelling. By focusing on the common humanity of his country’s people, Lat showed that editorial cartoons need not always be about harsh critique; they can also unite and celebrate a diverse society. His warm, insightful body of work has secured Lat’s status as a cultural icon and one of Asia’s most influential cartoonists.

Gado – Godfrey Mwampembwa (Tanzania/Kenya, 1969– )

Godfrey Mwampembwa, known by his pen name Gado, is East Africa’s most prominent editorial cartoonist, famed for his acerbic take on African politics and leadership. Tanzanian-born and long based in Kenya, Gado’s cartoons have appeared in Nairobi’s Daily Nation and The Standard, as well as international outlets like The Economist. Since the 1990s, he has been “the most syndicated political cartoonist in East and Central Africa”,⁶⁸ his work reaching audiences across the continent. Gado’s drawings combine bold caricatures with biting labels and symbolism, often addressing corruption, poor governance, and human rights issues in Africa. No leader has been immune – he has sketched Kenyan presidents from Daniel arap Moi to Uhuru Kenyatta, as well as regional figures like Zimbabwe’s Robert Mugabe, with unflattering precision. His fearless satire has occasionally sparked controversy and even led to his temporary firing from a newspaper under political pressure, but Gado’s voice remains influential. Beyond print, he co-created The XYZ Show, a Kenyan TV program using puppets for political satire, extending his impact into new media. Gado’s importance is reflected in the recognitions he’s received: in 2014 and 2016 he was named among the “100 most influential Africans” by New African magazine.⁶⁹ He also won, alongside Malaysia’s Zunar, the Cartooning for Peace Prize in 2016, awarded by Kofi Annan, honoring cartoonists who display courage in the face of threats.⁷⁰ This international acknowledgement underscores how Gado’s work has come to symbolize the role of the cartoonist as a fearless watchdog in fledgling democracies. Through ink and wit, Gado has inspired many across Africa to view cartoons as a tool for accountability, making him a key figure in African editorial cartooning.

Musa Kart (Turkey, 1954– )

Musa Kart is a Turkish cartoonist who has become emblematic of the struggle for press freedom under an increasingly authoritarian regime. For years, Kart was the staff cartoonist at the opposition newspaper Cumhuriyet, where he drew gentle but pointed caricatures of Turkish political leaders. He often depicted then-Prime Minister (now President) Recep Tayyip Erdoğan in satirical scenarios – most famously in a 2005 cartoon as a cat tangled in a ball of yarn, symbolizing Erdoğan ensnared in corruption scandals.⁷¹ Erdoğan sued Kart for that drawing but the courts initially acquitted the cartoonist, a victory for free expression.⁷² However, as the climate in Turkey worsened, Kart and his colleagues faced graver consequences. In 2016, amidst a broad crackdown on journalists, Musa Kart was arrested and later sentenced to jail on trumped-up charges of “assisting a terrorist organization” – essentially punished for doing his job with critical pen.⁷³ He served about a year behind bars. Kart’s imprisonment (one of several detentions in his career) drew international condemnation; organizations like Cartooning for Peace and Cartoonists Rights Network International campaigned for his release.⁷⁴ Despite these trials, Kart’s cartoons were relatively mild-mannered and whimsical in style – which made the heavy-handed response to them all the more alarming. After being freed in 2019 when convictions were overturned, Kart modestly said he would continue drawing as long as he could. His ordeal has made him a symbol of resilience for editorial cartoonists in Turkey and beyond, showing the high stakes involved when satire challenges authority. Musa Kart’s story highlights how influential even a simple drawing can be in the political arena, and how regimes fearful of humor can lash out against it. His courage under fire has inspired many to uphold the right to laugh at power.

Kurt Westergaard (Denmark, 1935–2021)

Kurt Westergaard will be forever linked to one of the most consequential – and controversial – editorial cartoons in history. A Danish cartoonist for Jyllands-Posten, Westergaard drew the infamous 2005 cartoon of the Prophet Muhammad with a lit bomb in his turban.⁷⁵ This image, published amid a set of cartoons intended to make a statement on self-censorship and Islam, triggered a global firestorm: violent protests erupted across Muslim-majority countries, embassies were attacked, and at least 200 people died in the unrest that followed.⁷⁶ Westergaard’s cartoon became “the most notorious of the twelve history-making cartoons” and has been described as perhaps “the most consequential editorial cartoon ever”.⁷⁷ Overnight, Westergaard, then in his 70s, found himself the target of assassination plots – Islamist militants placed him on hit lists, and in 2010 an attacker armed with an axe broke into his home (Westergaard survived by hiding in a panic room).⁷⁸ For the rest of his life, he lived under round-the-clock police protection.⁷⁹ The cartoon itself has taken on a life beyond Westergaard’s intent: it became a flashpoint in debates over free speech vs. respect for religion, used by both extremists and free-press advocates as a rallying symbol.⁸⁰ While the cartoon brought Westergaard fame and infamy he never sought, it undeniably “symbolized the challenges to freedom of expression” in the modern world.⁸¹ Denmark, and many in the West, rallied in defense of his right to draw it, granting him awards like the German M100 Media Award for defending press freedom.⁸² Others criticized the cartoon as needlessly provocative. In either case, Westergaard’s experience starkly illustrated the power of an editorial cartoon to shake the world. His legacy is a cautionary tale of satire’s reach: a single drawing that sparked an international conversation on the boundaries of satire, tolerance, and free expression.

Steve Bell (United Kingdom, 1951– )

Steve Bell has been a dominant force in British editorial cartooning for over 40 years, famous for his savage caricatures and irreverent visual satire in The Guardian. Bell’s long-running strip “If…” and his daily political cartoons have skewered every UK prime minister from Margaret Thatcher onward with a style that is instantly recognizable and often shocking. Known for pushing the limits of taste and taboo, Bell never hesitated to depict leaders in outrageous ways: he drew John Major as a grey puppet with his underpants outside his suit, Tony Blair with crazed demonic eyes and vampire fangs, and Boris Johnson as an unsightly version of the Mona Lisa (among many art-history-inspired spoofs).⁸³⁸⁴ His cartoons could be grotesque – in the early ’90s he even drew Major as a literal cartoon turd (which The Guardian declined to publish)⁸⁵ – yet they were underpinned by fierce intelligence and moral anger at hypocrisy or injustice. Bell’s graphic style is busy and cartoonish, often with speech balloons giving multiple characters a voice. This approach allows him to create entire scenes of satire, not just single-panel gags. Over decades, he became a kind of anti-establishment court jester to Britain’s political class. His influence is such that certain Bell caricatures have cemented how the public visualizes figures (for example, his portrayal of Thatcher in a mad Roman emperor pose, or George W. Bush as a chimpanzee). Described as a “leading political cartoonist” and even an “evil genius” by colleagues,⁸⁶⁸⁷ Bell has won numerous awards, including the British Cartoonists’ Association Cartoon of the Year multiple times. He has also faced accusations (and denials) of crossing into offensive territory, such as charges of antisemitic tropes in some cartoons.⁸⁸ Controversies aside, Steve Bell’s impact on UK media is enormous: he expanded the boundaries of permissible satire and inspired a new generation with his no-holds-barred approach. After four decades at The Guardian (ending in 2020), his legacy remains that of a cartoonist who believed nothing was sacred and that humor must spare no one in power.

These twenty cartoonists, through ink and paper (and sometimes great personal risk), have shaped public opinion and spoken truth to power across different eras and societies. Each developed a unique artistic voice – from Gillray’s grotesque engravings to Laxman’s everyman doodles to Bell’s barbed caricatures – and in doing so, proved the pen can indeed be mightier than the sword. Their works have at times entertained, enlightened, and enraged, but above all have encouraged us to think critically about the world. Together, they represent the global and enduring influence of editorial cartooning in challenging the status quo and championing the public’s right to laugh – and reflect – at the events that shape our lives.