seurat sunday afternoon date painted
In 1879 Georges Seurat enlisted as a soldier in the French army and was back home by 1880. Later, he ran a small painter’s studio in Paris, and in 1883 showed his work publicly for the first time. The following year, Seurat began to work on La Grande Jatte and exhibited the painting in the spring of 1886 with the Impressionists.  With La Grande Jatte, Seurat was immediately acknowledged as the leader of a new and rebellious form of Impressionism called Neo-Impressionism. 
The border of the painting is, unusually, in inverted color, as if the world around them is also slowly inverting from the way of life they have known. Seen in this context, the boy who bathes on the other side of the river bank at Asnières appears to be calling out to them, as if to say, “We are the future. Come and join us”. 
Paris, Grandes Serres de la Ville de Paris (serre “B” de la Champs de la Reine, Aval-Alma), 21me Exposition de la Société des Artistes Indépendants. Éxposition Rétrospective Georges Seurat (1859-1891), 1905, cat. 18.
The Art Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, June 1–November 1, 1934, cat. 324.
In the center of the work is a flurry of activity, which makes the painting’s center as appealing to look at as the left and the right. Despite the activity in the piece, however, the artist’s placing of his figures lends a degree of formality and static to his piece.
Seurat utilizes this blending technique through his use of shadows. In traditional painting, shadows are primarily represented by the color black. Following the principles of pointillism, Seurat is able to define his shadows by the color that they come into contact with. The skirts of the women provide the best examples for this. The clothing of the women in the center of the piece seems to be casting a blue shadow on the ground. Seurat’s shadows here are not being defined by traditional means but are instead a combination of the colors in its proximity.
Seurat spent over two years painting this picture, concentrating painstakingly on the landscape of the park before turning his focus on the people that will eventually inhabit the composition. However, when the time came to actually start portraying men and women, Georges decided to completely dedicate his efforts to their shapes, and not their personalities.
Compositionally speaking, A Sunday Afternoon On The Island Of La Grande Jatte‘s balance is carefully positioned and proportioned so that the entire work is intriguing to the human eye. The center of the painting is a flurry of activity, which makes it appealing to look at as the well-balanced left and the right sides. Yet, everything exists in a static state of things, and Georges’ decision to only depict people facing sideways or straight on makes the entire scene seem very rigid.
Seurat painted A Sunday Afternoon between May 1884 and March 1885, and from October 1885 to May 1886, focusing meticulously on the landscape of the park. He reworked the original and completed numerous preliminary drawings and oil sketches. He sat in the park, creating numerous sketches of the various figures in order to perfect their form. He concentrated on issues of colour, light, and form. The painting is approximately 2 by 3 meters (7 by 10 feet) in size.
A Sunday Afternoon on the Island of La Grande Jatte (French: Un dimanche après-midi à l’Île de la Grande Jatte) painted in 1884, is one of Georges Seurat’s most famous works. It is a leading example of pointillist technique, executed on a large canvas. Seurat’s composition includes a number of Parisians at a park on the banks of the River Seine.