Original drawing for View of the World from 9th Avenue, The New Yorker cover, March 29, 1976.
A parody of Manhattanites’ provincial perception of life beyond the Hudson River, the cover—and the posters of it sold by the magazine—spawned countless imitations and pirated reproductions. Steinberg finally brought suit against one appropriator and won a large settlement.
However, it was not copyright infringement alone that distressed him, but as well—and perhaps more—the exclusive identification of his art with that runaway image. Isolating View of the World from the rest of his oeuvre, you miss its larger significance: as one work within a parade of images that harness the graphic device of the map to visualize more than geography. The map for Steinberg is not a system of geographic measurement but a way of thinking.
View of the World itself has forerunners and descendants, beginning with The West Coast.
Saul Steinberg defined drawing as "a way of reasoning on paper," and he remained committed to the act of drawing. Throughout his long career, he used drawing to think about the semantics of art, reconfiguring stylistic signs into a new language suited to the fabricated temper of modern life. Sometimes with affection, sometimes with irony, but always with virtuoso mastery, Saul Steinberg peeled back the carefully wrought masks of 20th-century civilization.
iew of the World from 9th Avenue (sometimes A Parochial New Yorker's View of the World, A New Yorker's View of the World or simply View of the World) is a 1976 illustration by Saul Steinberg that served as the cover of the March 29, 1976, edition of The New Yorker. The work presents the view from Manhattan of the rest of the world showing Manhattan as the center of the world.
....The work is regarded as one of the greatest magazine covers of recent generations and is studied by art students around the world.
....In 2005, American Society of Magazine Editors unveiled its list of the top 40 magazine covers of the prior 40 years and ranked View of the World from 9th Avenue in fourth place. The listing stated that the work "...has come to represent Manhattan's telescoped perception of the country beyond the Hudson River. The cartoon showed the supposed limited mental geography of Manhattanites."