Helmi El-Touni: A Legacy Rooted in Egyptian Identity, Feminism and Palestinian Solidarity

If you’ve ever picked up a book by a famous Egyptian author or flipped through an old issue of “El Kawakeb”, chances are you’ve seen the iconic work of Helmi El-Touni. Known for his vibrant illustrations and politically charged designs, El-Touni was a major force in shaping the visual culture of Egypt and the wider Arab world throughout the 20th century. His art didn’t just decorate the pages of books—it made powerful statements about society, politics, and identity. His work notably stood as a voice for the Palestinian cause, using colour and form to tell stories of struggle, resistance, and hope. Through his art, El-Touni left an indelible mark on modern Arab aesthetics, blending tradition and modernity while championing the rights of the marginalized. 

El-Touni was not just concerned with aesthetic innovation—he believed that art had the power to provoke, challenge, and uplift. His illustrations often focused on the ordinary yet profound lives of Egyptian women, particularly those in rural areas. In his work, women were more than just subjects—they were symbols of strength, resilience, and hope, reflecting the challenges and triumphs of the working class. For El-Touni, his art was an act of advocacy. He described himself as “an artist for women, an advocate for women, and a champion for the oppressed,” using his illustrations to elevate the stories of those whose voices were often ignored. 

While El-Touni’s art was deeply rooted in Egyptian identity, it was also a reflection of the broader regional political currents of the time. As the Arab world was grappling with post-colonial struggles and rising nationalist movements, El-Touni saw his work as part of a cultural revolution. His art was infused with leftist ideals, advocating for social justice and standing in solidarity with the oppressed. One of the most significant causes he championed was the Palestinian struggle for freedom.  

El-Touni’s artwork became synonymous with political activism. His bold posters and striking visual commentary on the Palestinian cause made waves not only in Egypt but across the Arab world. He saw the Palestinian people’s plight as a reflection of the wider struggles for justice and equality, and he used his illustrations as a form of resistance. The connection between his art and political activism was clear—his illustrations weren’t just depictions; they were calls to action. 

However, El-Touni’s outspoken political stance came with its own set of challenges. In the late 1970s, under President Anwar El Sadat, El-Touni found himself at odds with the government due to his leftist leanings. His criticism of the political establishment led to his exile in Beirut, a city that, at the time, was a crossroads for revolutionary ideas and movements. Beirut was home to many of the region’s intellectuals and activists, including those involved in the Palestinian cause, and El-Touni’s time there would prove to be a turning point in his career. 

While in Beirut, El-Touni immersed himself in the cultural and political scene, absorbing new ideas and artistic traditions that would go on to influence his work, as well as involving himself in the numerous Palestinian liberation organisations which had set up shop in the city. It was during this period that he began to incorporate more traditional Arab art forms into his work, including Islamic calligraphy, Coptic manuscripts, and ancient Egyptian symbols. The result was a fusion of the modern and the ancient—an expression of cultural pride that was also a form of resistance against colonial influences. His work became increasingly rooted in the rich artistic heritage of the Arab world, but it was also firmly anchored in the realities of contemporary political struggles. 

El-Touni himself remarked that his time in Beirut “taught me lessons far greater than just art. It taught me about humanity and politics.” These lessons are evident in the evolution of his style, which became more focused on traditional forms and motifs, merging the ancient with the modern in a way that felt uniquely Arab and yet universally resonant. 

El-Touni returned to Cairo in 1983, where he resumed his role as the art director at Dar El Hilal. By now, his artistic approach had evolved. No longer simply a graphic designer, El-Touni was now a cultural architect, using his art to build a new vision of Arab identity. In his return to Cairo, he embraced more deeply the artistic traditions of the region, drawing on the splendour of Pharaonic symbolism, the elegance of Islamic calligraphy, and the richness of Coptic Christian art.  

El-Touni’s return to Cairo marked the beginning of a new chapter in his career. His art became more complex, layered with meaning and history. It was no longer just about illustrating books or creating political posters—it was about asserting Arab cultural identity in a world dominated by Western influence. His work was not just a reflection of Arab history but also a powerful statement about the future. 

Helmi El-Touni once said, “I’m a singer, not a painter. I sing through my paintings.” Through his illustrations, posters, and designs, El-Touni sang the song of resistance, justice, and solidarity. He used his art to call for change, to raise awareness about the struggles of the Palestinian people, and to assert a powerful vision of Arab identity. His work transcended borders, connecting people across the Arab world and beyond, and his legacy will continue to resonate as a symbol of the intersection between art, politics, and social justice.