In 1982, Jamil Molaeb exhibited woodcut prints in West Beirut, capturing life during the Lebanese Civil War . His series Akhir al-zalam, awwal al-fajr (The End of Darkness, the Beginning of Dawn) stood out for its portrayal of wartime experiences. Molaeb’s work drew on regional artistic influences, particularly those of Palestinian artist Mustafa al-Hallaj, highlighting the interconnectedness of artists in the region affected by conflict. This exhibition stood out for its exploration of war themes through the medium of woodcut prints, a choice reflecting both artistic intent and the material realities of wartime Lebanon.
This paper examines the relationship between the visuality of black-and-white prints and the representation of war motifs in Lebanese art during the civil war . The prevalence of war-themed prints and posters shaped the visual culture of Lebanon, yet the genre faced limited commercial appeal, pushing artists and galleries back toward mainstream art. By analysing these dynamics, this paper reconsiders how Lebanese artists documented and engaged with the civil war through underrepresented artistic media.