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It's all an art. It's hard to resist the pleading eyes of dogs innocently begging for a treat. This August 9, 2021 cover illustrates with tenderness our attachment to these furry "best friends." Artist Mark Ulriksen regularly depicts dogs in his work, fascinated by the biting world of their unique personalities and distinctive breeds. Here, he draws inspiration from Maggie, Ruby and Virgil, the dogs of his friends and neighbors, in remembrance of the comfort of their company during the pandemic, between opportunities to walk and cuddle on the couch without social distancing.

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Le format 40x50 cm

Cadre 43x33 cm Papier : Classique

Summer is well and truly on the cover of The New Yorker of June 27, 2005, by Eric Drooker and his subtle and caustic perspective on the climate context. A fire hydrant is thus the object of an almost religious cult by all the dogs of the city, in search of water to cool down. Bell towers and other skyscrapers enhance it in the distance, like a call to rise, but it is only water, more vital than anything else, that interests and attracts them.

The fragrance of holidays and the end of the game, on the cover of The New Yorker of July 9, 2019, Mark Ulriksen invites you to laze around. No need to make the slightest effort, just let yourself be carried away by the gentle rolling of the pool water, quite simply, without any complexes, for a well-deserved rest. Ah, not being there for anyone anymore, well...

"Christmas Dog" by the fire, according to Ana Juan, on the cover of The New Yorker, December 19, 2016. The Spanish artist has designed some 20 covers for the magazine, including the one following the attacks on Charlie Hebdo and the hypercasher in January 2015. Two months after Donald Trump's election, is this the image of a future that questions the illustrator: the heart of a cosy interior where an intense fire is burning?