Nature

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Since 1978, Sempé has designed 101 covers of The New Yorker. For the 20th anniversary of this collaboration, on May 18th, 1998, he landed in Central Park. A young New Yorker couple lying down enjoy the coolness on the lawn of the "Great Lawn". The curve of the trees and the expanse of grass contrast with the saturated verticals of the skyscrapers that surround this place of mythical gatherings and concerts: Simon and Garfunkel, Elton John, Diana Ross and even John Paul II in 1995. 

Abe Birnbaum has painted over 200 covers of The New Yorker in 37 years. He died a few weeks before this August 6, 1966 issue. On this cover, the ubiquitous green of the course contrasts with the white and tiny size of the golfer and his shadow on the lawn. Since 1995, the U.S. Open de Golf has been held 5 times at Shinnock Hills in Southampton, Long Island, a few miles from Manhattan. 

Sempé's subtle art hits the bull's eye on this graphic cover of The New Yorker July 20, 2015. Four ladies in pastel hats enjoy an ice cream in the sun, at the intersection of four cleverly pruned trees. Since 1978 Sempé has designed more than 109 covers for the famous New Yorker magazine. 

Autumn String Quartet on the October 20, 1980 cover of The New Yorker by Sempé. The orange of the leaves littering the ground and the golden light of the Indian summer that surrounds the musicians, give relief to the small coloured spots on their clothes where the memory of summer can still be read. While the knitwear in progress placed on the tables announce the coming arrival of winter...

Summer comes to an end on the seashore on the cover of The New Yorker, August 30, 1969. The artist Arthur Getz has more than 213 of the magazine's covers to his credit, paints a shady, maritime perspective, houses with white facades and green shutters. A quiet atmosphere at the end of the season before resuming the hectic New York life. 

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. 

Autumn pointillist and impressionist, under the palette of Eric Drooker, on the cover of The New Yorker on November 9, 2009. Trees blaze red and orange, irradiating the space. The silhouettes of the walkers stand out in shadow, in a magnificent whirlwind at the end of the day... or at the end of the world!