New York

Mark Ulriksen designed this coverage in anticipation of the color given to the mythical Empire State Building by CNN on the night of Barack Obama's re-election on November 6th, 2012. That's how many New Yorkers who were without power during the recent Sandy storm learned the election result that night. Had his Republican opponent Mitt Romney been elected, he would have been red. 

To represent the first election of Barack Obama on the magnetic cover of the New Yorker on November 17, 2008, Bob Staake chose to link it to the Lincoln Memorial in Washington, a symbol of the struggle of blacks for their rights. It is here that Martin Luther King gave his famous speech I have a dream on August 28, 1963. The full moon in the W of the New Yorker celebrates liberation, while the reflection of the columns recalls the years of slavery.

They say a lion never sleeps, even a statue in front of the famous New York Public Library (NYPL). Harry Bliss’s cover of the New Yorker of June 3, 2002, illustrates that the Lion King remains the master and the frightened pigeons just have to land elsewhere. The Public Library is one of the city's flagship structures. The famous American documentary filmmaker Frederick Wiseman dedicated a documentary to it in 2017: Ex Libris. 

If New York is the fashion capital of the world, it's because fashion never stops there. Greg Foley shows the paradoxes in this crossroads of fashionistas, on the cover of the style issue of September 21, 2015. A designer that wears many hats, Foley has collaborated on the ultra-trendy "VMagazine" and "Visionaire", but he has also created the children's book series "Merci Petit Ours" (Thank You Little Bear). 

The November 16, 2009 cover shows the night lights between Lexington and 53rd Street and a view of the Chrysler Tower. Lights and streetlights become halos as if blurred by the rain. In a few months of practice, Jorge Colombo has now completely mastered his new finger painting technique with the Brushes phone application. "Something is lost, something is gained"

Breathtaking view of the Chrysler Building and Manhattan's forest of buildings at nightfall. Isn't it said that a cat always finds the best spot? The Chrysler Buildind was inaugurated in 1930, it measures 319m up to its spire and is New Yorkers' favourite skyscraper. Mark Ulriksen honors it on the cover of The New Yorker on January 12, 2009. In 2002, Spider-man was clinging to one of his gargoyles. 

On the cover of The New Yorker on September 15, 2008, Eric Drooker illustrates an iconic last kiss, before rushing into the subway. This evokes …West Side Story, Breakfast at Tiffany's, Her and Him, When Harry meets Sally, Love Story, Sex and the City - American cinema has done it well, Paris is not alone, New York is also the city of love.

Two years after the attacks of September 11, 2001, Turkish cartoonist Gürbüz Dogan Eksioglu pays homage to the famous twin towers of the World Trade Center. On the cover of the New Yorker of September 15, 2003, in solidarity, he offered a twin to each tower of the city, from the most modest to the most emblematic: Empire State Building, Chrysler Tower... The Skyline splits up to pay tribute to the missing. 

On January 24, 1970, Charles E. Martin (E.C.M.) offered the New Yorker a unique view of the doors of the Solomon R. Guggenheim Museum on Fifth Avenue on the Upper East Side. The famous architect Frank Lloyd Wright designed it to evoke a helical structure.

An iconic building in New York, the Flatiron Building, at the intersection of Fifth Avenue and Broadway, is almost as well known as the Empire State Building. Its singular triangular shape, designed by the architect Daniel Burnham, never ceases to question photographers and designers. On this cover of The New Yorker for April 17, 2017, Harry F Bliss adds a humorous touch with this linen stretched over the most fashionable avenue in the world. 

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. 

Christmas is approaching, under the brushes of Arthur Getz, on the cover of The New Yorker on December 18, 1965. The night sparkles with multiple colours, blue reflections of the night, red of the garlands, yellow of the headlights and the windows of the buildings, green of the puddles on the sidewalks. The night is plural, the work of an artist with an infinite palette, from Soho to Greenwich village, or Chelsea.

Colour magic and couple magic on the fall cover of The New Yorker for November 12, 2018 by Eric Drooker. The brown and red tones of autumn mingle with the blues of the lake water and the facades of the skyscrapers that line Central Park and cut into the evening sky. In the rowboat, the couple of lovers take up the same colour, blue for the rower, red for the red-headed woman on the back, whom they gently walk around. 

Building cut-outs and dotted reflections in the Central Park lake is the vision of Eugene Mihaesco, a Romanian cartoonist exiled in the United States in the 1960s and author of more than 70 covers for The New Yorker, including the August 18, 1975 cover. He has devoted much of his work to drawing against oppression and for world peace.

Summer twilight on the cover of The New Yorker on August 27, 1979. Arthur Getz, who designed more than 200 covers for the New Yorker between 1938 and 1988, captures the city as it literally catches fire, decked out in red as if it were on fire. Getz plays contrasts with the blue shadow that takes over the building's cornices in the foreground, accentuating the feeling of apocalypse and incandescence.

Shadows and water on the surface of the East River, under the Brooklyn Bridge, on the cover of the New Yorker of May 27, 2019 by Malika Favre. The French illustrator and cartoonist based in Barcelona delicately slides a paddle into the shadow of the suspension bridge designed by John Augustis Roegling that links Manhattan to Brooklyn. He has been immortalized many times in the cinema, from "Once upon a time in America" by Sergio Leone to the Lumière brothers, via "Godzilla" and "Cloverfield".