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"Hot Dogs" on the front page of The New Yorker August 13, 2007 by Mark Ulriksen. Portrait gallery of 11 dogs at their summer window, tongues hanging out, looking for the draught, while a single cat is lounging imperturbably on the air conditioner. Mark Ulriksen has designed more than 55 covers for the magazine since 1994, on which there are equal numbers of animals and sportsmen (baseball, basketball, skateboarding...).

Istvan Banyai, a Hungarian-born American illustrator, puts New York under water on the cover of the New Yorker on April 23, 2005. Is this a nightmare about global warming or a poetic vision of a sunken city? A few weeks earlier, the Tokyo Protocol for the global reduction of greenhouse gases, put forward by the United Nations, came into force. There is still much to be done to prevent the waters from rising. 

Cover of The New Yorker signed C.E.M., Charles E. Martin, September 11, 1971. The diagonal slope of the roof, the horizontal walls and windows and the alignment of the seagulls. This artist always creates the detail that hits the mark and balances the design: the refractory seagull that does not follow the direction of the wind and looks away from its comrades. 

When a black cat crosses... a black cat. In the humorous eye of Ian Falconer, on the cover of The New Yorker on October 30, 2006, to celebrate Halloween, the encounter in the mirror is explosive. Model and reflection are as frightening and threatening as each other, their black hair bristling. The work on the colours and frames makes it a jewel of precision.

Polar cold on the cover of the New Yorker January 13, 2014. Bruce McCall replaces the famous emblematic lions that frame the square in front of the Public Library on 5th Avenue with two polar bears much better suited to the winter temperatures of that winter. Stalactites and an imperturbable snowplow complete the picture of the twilight season. 

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"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? 

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...

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.

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.