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On the cover of Arthur Getz’s New Yorker on December 8, 1986 snow covers the mountain, from village to village. It evokes the spirit of winter with its open fires and cosy atmosphere. Getz painted more than 213 covers of The New Yorker, his talent shaped the magazine's visual identity. 

On January 20, 1973, Arthur Getz makes his skiers slide, his brushes trace black silhouettes with blue shadows over the snow. Getz was one of the first artists who gave the magazine its visual identity, mainly through his paintings, and has 213 covers to his credit over 40 years. 

An improbable crossing on the top of the mountain . Harry Bliss’s imagination hits the mark, once again on the cover of The New Yorker on January 24, 2000, by overturning the elementary codes of snow-skiing. The artist has designed more that 20 magasine covers since the late 90’s with much humour and finesse.

On the cover of The New Yorker on February 9, 2015 , Mark Ulriksen evokes airs from the paintings of Pieter Brueghel the Elder, in this snowy landscape. The Dog-Sitters and their dogs on a leash are scattered across an almost black and white forest landscape. 

Birgit Schössow's cover of The New Yorker on February 3, 2013, illustrates a skier that tears the paper with a regular ‘schuss’ to reveal a few lines of text. This refers to the exclusive short story, published inside, "Susya on the roof" by the American writer Nicole Krauss, also author of L'Histoire de l'amour, which won the Best Foreign Book Award in 2006. 

On the cover of March 10, 2014, Otto Steninger imagines New Yorkers serving their city, driving snow-clearing strollers on the sidewalks of Manhattan. Sky blue, white and two shades of red give the drawing a futuristic and visionary look. If snow abounds in the winter of 2014, the designer is not forgetting that global warming is more prevalent than ever.