Bemelmans was born to the Belgian painter Lambert Bemelmans and the German Frances Fischer in Meran, Austria-Hungary (now Italy). His father owned a hotel. He grew up in Gmunden on the Traunsee in Upper Austria. His first language was French and his second German.

In 1904, his father left his wife and Ludwig's governess, both of whom were pregnant with his children, for another woman, after which his mother took Ludwig and his brother to her native city of Regensburg, Germany. Bemelmans had difficulty in school, as he hated the German style of discipline. He was apprenticed to his uncle Hans Bemelmans at a hotel in Austria. In a 1941 New York Times interview with Robert van Gelder, he related that while an apprentice, he was regularly beaten and even whipped by the headwaiter. According to Bemelmans, he finally warned the headwaiter that if he was whipped again he would retaliate with a gun. The headwaiter ignored his warning, whipped him, and Bemelmans reportedly shot and seriously wounded him in retaliation. Given the choice between reform school and emigration to the United States, he chose the latter. It is likely this was one of Bemelman's famous yarns, since in John Bemelmans Marciano's biography of his grandfather, he relates a simpler story: recognizing that Ludwig was an incorrigible boy, his uncle offered him the choice of going to America (where his father now lived), or going to reform school.

He spent the next several years working at hotels and restaurants in the US. In 1917, he joined the U.S. Army, but was not sent to Europe because of his German origins. He did become an officer, and was promoted to Second Lieutenant. He writes of his experiences in the Army in the book, My War With the United States. In 1918, he became a US citizen.

In the 1920s, Bemelmans tried to become an artist and painter while working at hotels, but had substantial difficulties. In 1926, he quit his job at the Ritz-Carlton in New York to become a full-time cartoonist.[8] His cartoon series The Thrilling Adventures of the Count Bric a Brac was dropped from the New York World after six months. He associated with Ervine Metzl, a commercial artist and illustrator who is variously described as Bemelmans's friend, "agent", and "ghost artist".

In the early 1930s Bemelmans met May Massee, the children's book editor at Viking Press, who became a sort of partner.[8] He began to publish children's books, beginning with Hansi in 1934. He published the first Madeline book in 1939; after being rejected by Viking, it was published by Simon & Schuster.[13] The book was a great success. Bemelmans did not write a second Madeline book until 1953, when he published Madeline’s Rescue. Four more books in the series were subsequently published while he was alive, and one more was published posthumously in 1999.

Up until the early 1950s, the artistic media he worked in were pen and ink, water color, and gouache. As he describes in his autobiographical My Life in Art,[15] he had avoided oil painting because it did not permit him to produce artistic pieces quickly. But at this point in his life, he wanted to master the richness of oil painting. To this end, he set out to buy a property in Paris that would serve as a serious, full-blown art studio. In 1953, he fell in love with a small bistro in Paris, La Colombe [fr] in the Île de la Cité, and bought it, intending to convert it into a studio. He painted murals therein, but the project was a disaster owing to French bureaucracy, and after two years of frustration and disappointment, he unloaded it by selling it to Michel Valette, who converted it into a notable cabaret.

Bemelmans also wrote a number of adult books, including travel, humorous works, and novels, as well as movie scripts. The latter included Yolanda and the Thief. While spending time in Hollywood, he became a close friend of interior decorator Elsie de Wolfe, Lady Mendl.

A mural on the walls of the Carlyle Hotel's Bemelmans Bar in New York City, Central Park, is his only artwork on display to the public. He painted the children's dining room on Aristotle Onassis's yacht Christina (now the Christina O), for Christina Onassis, the young daughter of the magnate.

A collection of his short writings was published in 2004 as When you lunch with the Emperor mainly extracted from previous works which included My War with the United States (1937), Life Class (1938), Small Beer (1939), Hotel Splendide (1941), I Love You, I Love You, I Love You (1942), and “Bemelman’s Italian Holiday” (1961) a collection of travel essays that originally appeared in the magazine, Holiday (magazine), to which Bemelman had been a consistent contributor.

Each Madeline story begins: "In an old house in Paris, that was covered with vines, lived twelve little girls in two straight lines... the smallest one was Madeline." The girls are cared for by Miss Clavel. She is likely a nun, as some French orders called themselves Madames, particularly that of St. Madeleine Sophie Barat, after which this convent school seems to be modeled; and "Mrs." would not be an appropriate equivalent in English. Some have argued that Miss Clavel's apparel looks more like that of a nurse (although why a nurse is working in what appears to be a Paris convent school is not explained).

It is well known for its illustrated and often topical covers, its commentaries on popular culture and eccentric American culture, its attention to modern fiction by the inclusion of short stories and literary reviews, its rigorous fact checking and copy editing, its journalism on politics and social issues, and its single-panel cartoons sprinkled throughout each issue.

The New Yorker was founded by Harold Ross (1892–1951) and his wife Jane Grant (1892–1972), a New York Times reporter, and debuted on February 21, 1925. Ross wanted to create a sophisticated humor magazine that would be different from perceivably "corny" humor publications such as Judge, where he had worked, or the old Life. Ross partnered with entrepreneur Raoul H. Fleischmann (who founded the General Baking Company) to establish the F-R Publishing Company. The magazine's first offices were at 25 West 45th Street in Manhattan. Ross edited the magazine until his death in 1951. During the early, occasionally precarious years of its existence, the magazine prided itself on its cosmopolitan sophistication. Ross declared in a 1925 prospectus for the magazine: "It has announced that it is not edited for the old lady in Dubuque."

Although the magazine never lost its touches of humor, it soon established itself as a preeminent forum for serious fiction, essays and journalism. Shortly after the end of World War II, John Hersey's essay Hiroshima filled an entire issue. The magazine has published short stories by many of the most respected writers of the 20th and 21st centuries, including Ann Beattie, Sally Benson, Maeve Brennan, Truman Capote, Rachel Carson, John Cheever, Roald Dahl, Mavis Gallant, Geoffrey Hellman, Ernest Hemingway, Stephen King, Ruth McKenney, John McNulty, Joseph Mitchell, Alice Munro, Haruki Murakami, Vladimir Nabokov, John O'Hara, Dorothy Parker, S.J. Perelman, Philip Roth, George Saunders, J. D. Salinger, Irwin Shaw, James Thurber, John Updike, Eudora Welty, and E. B. White. Publication of Shirley Jackson's "The Lottery" drew more mail than any other story in the magazine's history. In its early decades, the magazine sometimes published two or even three short stories in an issue, but in later years the pace has remained steady at one story per issue.

The nonfiction feature articles (usually the bulk of an issue) cover an eclectic array of topics. Subjects have included eccentric evangelist Creflo Dollar, the different ways in which humans perceive the passage of time, and Münchausen syndrome by proxy.

The magazine is known for its editorial traditions. Under the rubric Profiles, it has published articles about prominent people such as Ernest Hemingway, Henry R. Luce and Marlon Brando, Hollywood restaurateur Michael Romanoff, magician Ricky Jay, and mathematicians David and Gregory Chudnovsky. Other enduring features have been "Goings on About Town", a listing of cultural and entertainment events in New York, and "The Talk of the Town", a feuilleton or miscellany of brief pieces—frequently humorous, whimsical, or eccentric vignettes of life in New York—in a breezily light style, although latterly the section often begins with a serious commentary. For many years, newspaper snippets containing amusing errors, unintended meanings or badly mixed metaphors ("Block That Metaphor") have been used as filler items, accompanied by a witty retort. There is no masthead listing the editors and staff. Despite some changes, the magazine has kept much of its traditional appearance over the decades in typography, layout, covers and artwork. The magazine was acquired by Advance Publications, the media company owned by Samuel Irving Newhouse Jr, in 1985, for $200 million when it was earning less than $6 million a year.

Ross was succeeded as editor by William Shawn (1951–87), followed by Robert Gottlieb (1987–92) and Tina Brown (1992–98). The current editor of The New Yorker is David Remnick, who succeeded Brown in July 1998.

Among the important nonfiction authors who began writing for the magazine during Shawn's editorship were Dwight Macdonald, Kenneth Tynan, and Hannah Arendt, whose Eichmann in Jerusalem reportage appeared in the magazine, before it was published as a book.

Brown's tenure attracted more controversy than Gottlieb's or even Shawn's, thanks to her high profile (Shawn, by contrast, had been an extremely shy, introverted figure), and to the changes she made to a magazine with a similar look for the previous half-century. She introduced color to the editorial pages (several years before The New York Times) and included photography, with less type on each page and a generally more modern layout. More substantively, she increased the coverage of current events and topics such as celebrities and business tycoons, and placed short pieces throughout "Goings on About Town", including a racy column about nightlife in Manhattan. A letters-to-the-editor page was introduced, and authors' bylines were added to their "Talk of the Town" pieces.

Since the late 1990s, The New Yorker has used the Internet to publish current and archived material, and maintains a website with some content from the current issue (plus exclusive web-only content). Subscribers have access to the full current issue online and a complete archive of back issues viewable as they were originally printed. In addition, The New Yorker's cartoons are available for purchase online. A digital archive of back issues from 1925 to April 2008 (representing more than 4,000 issues and half a million pages) was also issued on DVD-ROMs and on a small portable hard drive. More recently, an iPad version of the current issue has been released.  In 2014, The New Yorker opened up access online to all of its archives, expanded its plans to run an ambitious Website, and launched a paywalled subscription model. “What we’re trying to do,” said Nicholas Thompson, the editor of the Website, “is to make a website that is to the Internet what the magazine is to all other magazines.”

The magazine's editorial staff unionized in 2018 and The New Yorker Union signed its first collective bargaining agreement in 2021.

The New Yorker influenced a number of similar magazines, including The Brooklynite (1926 to 1930), The Chicagoan (1926 to 1935), and Paris's The Boulevardier (1927 to 1932).

Cartoons - COMIC ART

The New Yorker has featured cartoons (usually gag cartoons) since it began publication in 1925. For years, its cartoon editor was Lee Lorenz, who first began cartooning in 1956 and became a New Yorker contract contributor in 1958. After serving as the magazine's art editor from 1973 to 1993 (when he was replaced by Françoise Mouly), he continued in the position of cartoon editor until 1998. His book The Art of the New Yorker: 1925–1995 (Knopf, 1995) was the first comprehensive survey of all aspects of the magazine's graphics. In 1998, Robert Mankoff took over as cartoon editor and edited at least 14 collections of New Yorker cartoons. Mankoff also usually contributed a short article to each book, describing some aspect of the cartooning process or the methods used to select cartoons for the magazine. He left the magazine in 2017.

The New Yorker's stable of cartoonists has included many important talents in American humor, including Charles Addams, Peter Arno, Charles Barsotti, George Booth, Roz Chast, Tom Cheney, Sam Cobean, Leo Cullum, Richard Decker, Pia Guerra, J. B. Handelsman, Helen E. Hokinson, Pete Holmes, Ed Koren, Reginald Marsh, Mary Petty, George Price, Charles Saxon, Burr Shafer, Otto Soglow, William Steig, Saul Steinberg, James Stevenson, James Thurber, and Gahan Wilson.

Many early New Yorker cartoonists did not caption their cartoons. In his book The Years with Ross, Thurber describes the newspaper's weekly art meeting, where cartoons submitted over the previous week were brought up from the mail room to be looked over by Ross, the editorial department, and a number of staff writers. Cartoons were often rejected or sent back to artists with requested amendments, while others were accepted and captions were written for them. Some artists hired their own writers; Helen Hokinson hired James Reid Parker in 1931. Brendan Gill relates in his book Here at The New Yorker that at one point in the early 1940s, the quality of the artwork submitted to the magazine seemed to improve. It later was found out that the office boy (a teenaged Truman Capote) had been acting as a volunteer art editor, dropping pieces he did not like down the far end of his desk.

Several of the magazine's cartoons have reached a higher plateau of fame. One 1928 cartoon drawn by Carl Rose and captioned by E. B. White shows a mother telling her daughter, "It's broccoli, dear." The daughter responds, "I say it's spinach and I say the hell with it." The phrase "I say it's spinach" entered the vernacular, and three years later, the Broadway musical Face the Music included Irving Berlin's song "I Say It's Spinach (And the Hell with It)". The catchphrase "back to the drawing board" originated with the 1941 Peter Arno cartoon showing an engineer walking away from a crashed plane, saying, "Well, back to the old drawing board."

The most reprinted is Peter Steiner's 1993 drawing of two dogs at a computer, with one saying, "On the Internet, nobody knows you're a dog". According to Mankoff, Steiner and the magazine have split more than $100,000 in fees paid for the licensing and reprinting of this single cartoon, with more than half going to Steiner.

Over seven decades, many hardcover compilations of New Yorker cartoons have been published, and in 2004, Mankoff edited The Complete Cartoons of The New Yorker, a 656-page collection with 2,004 of the magazine's best cartoons published during 80 years, plus a double CD set with all 68,647 cartoons ever published in the magazine. This features a search function allowing readers to search for cartoons by cartoonist's name or year of publication. The newer group of cartoonists in recent years includes Pat Byrnes, J. C. Duffy, Liana Finck, Emily Flake, Robert Leighton, Michael Maslin, Julia Suits, and P. C. Vey. Will McPhail cited his beginnings as "just ripping off Calvin and Hobbes, Bill Watterson, and doing little dot eyes." The notion that some New Yorker cartoons have punchlines so oblique as to be impenetrable became a subplot in the Seinfeld episode "The Cartoon", as well as a playful jab in The Simpsons episode "The Sweetest Apu".