Michael Leunig, a towering figure in Australian cartooning, passed away, leaving behind a legacy of thought-provoking and often controversial work. Recognized as one of Australia’s living treasures in 1997, he carved a unique space in the national consciousness with his signature blend of whimsy, philosophical reflection, and poignant social commentary. His career, spanning over half a century, reflected the evolution of Australian society and its grappling with complex social and political issues.
Leunig’s cartoons were characterized by their distinct style, often described as regressive, humorous, messy, mystical, primal, and vaudevillian. They resonated deeply with many Australians, challenging conventional wisdom and prompting introspection. Cathy Wilcox, president of the Australian Cartoonists Association, lauded his contribution to a golden era of newspaper cartooning, noting his modern style and perspective that challenged traditional masculine archetypes. She highlighted his ability to infuse his work with poetic vulnerability, whimsy, and insight, focusing on the human condition rather than the ephemeral nature of daily news. While deeply personal, his work also maintained a degree of mystique, obscuring the person behind the pen.
Leunig’s long career also witnessed clashes with evolving societal norms. His later work sometimes sparked controversy, particularly in the charged landscape of identity politics. While he faced criticism for his stances and his resistance to ceding the stage to younger voices, those who knew him personally often spoke of his kindness and inquisitiveness. Jim Pavlidis, a former colleague at The Age, emphasized Leunig’s influence in shaping the landscape of contemporary cartooning, noting how whimsy and philosophical reflection, hallmarks of Leunig’s work, are now commonplace. He also recalled Leunig’s genuine curiosity and ability to engage in conversation as equals, despite their age difference and the younger artist’s admiration for his established colleague.
Born in East Melbourne in 1945, Leunig’s early life was marked by creative influences ranging from Enid Blyton to the Beatles. His political consciousness was profoundly shaped by the Vietnam War and the threat of conscription, though his deafness in one ear ultimately exempted him from service. He worked in various manual labor jobs before embarking on his career as a political cartoonist in 1969. His cartoons, often described as poignant and controversial, resonated with readers and sparked discussions, rarely failing to evoke a strong emotional response. His early work established him as a unique voice in Australian cartooning, setting the stage for a career marked by both acclaim and controversy.
The 21st century and the "War on Terror" saw Leunig’s work take on a new dimension. His cartoons opposing the invasions of Afghanistan and Iraq, following the 9/11 attacks, generated significant controversy and marked a watershed moment in his career, leading to feelings of disillusionment and alienation. He described this period as particularly challenging, highlighting the strong reactions his work provoked. Later controversies included a cartoon suggesting some mothers prioritize their smartphones over their children, which drew accusations of misogyny, a charge he denied. During the COVID-19 pandemic, his comparison of mandatory vaccinations to the Tiananmen Square protests again ignited public debate. These incidents underscored the increasingly polarized nature of public discourse and the challenges faced by artists engaging with sensitive social and political issues.
Despite the controversies, Leunig remained a significant and influential figure in Australian culture. Tributes poured in upon news of his passing, acknowledging his unique contribution to the artistic and intellectual landscape. Broadcaster Phillip Adams, another of the National Trust’s living treasures, reflected on Leunig’s occasional missteps while emphasizing the magnificence of his work when he was right, highlighting the complexity of judging an artist’s legacy. The media union, the MEAA, acknowledged the polarizing nature of his work while recognizing his stature as a giant of Australian cartooning. In his final years, residing in northern Victoria, Leunig continued to create and inspire. He acknowledged the influence of other artists, writers, and musicians on his own journey, expressing his lifelong desire to contribute to the world through creative expression. His final cartoon served as a poignant farewell, leaving a lasting impression on a nation touched by his unique voice.
