where is a sunday afternoon on the island of la grande jatte
A Sunday Afternoon on the Island of La Grande Jatte (1884-6)
By Georges Seurat. One of the greatest modern paintings of the 19th century.
A Sunday Afternoon on the Island of La Grande Jatte was purchased by the Art Institute of Chicago in 1924, for the reputed sum of $24,000.
In 2011, the cast of the US version of The Office re-created the painting for a poster to promote the show’s seventh-season finale. 
In the 1950s, historian and Marxist philosopher Ernst Bloch drew social and political significance from Seurat’s La Grande Jatte. The historian’s focal point was Seurat’s mechanical use of the figures and what their static nature said about French society at the time. Afterward, the work received heavy criticism by many that centered on the artist’s mathematical and robotic interpretation of modernity in Paris. 
Georges Seurat, Study for “A Sunday Afternoon on the Island of La Grande Jatte,” 1884 (Photo: Wikimedia Commons Public Domain)
Why did he dedicate so much time to these preparatory sketches? As Pointillists, Seurat and Signac were particularly interested in playing with perception and experiment with optics, resulting in a comprehensive and meticulous painting process.
Individuals never did interest Seurat, only their formal elegance and the way they contributed to the overall perfect balance of the composition. As a result, this high class get-away for the Parisian community appears to be terrifyingly still – although we assume children would be running around and that dogs would be barking, the impression we receive is of silence, of control, of no disorder whatsoever. Even those who came to this mile-long island in pairs seem alone in their concise form.
Executed on a large canvas painted in 1884, A Sunday Afternoon on the Island of La Grande Jatte reveals everything magical about Seurat’s world – it’s beautiful and disturbing, sunlit and shadowed, silent and noisy, all at the same time. The painting’s dimensions are approximately 2 by 3 meters (7 by 10 feet), representing a truly huge size for pieces painted during this period.
Seurat’s groundbreaking techniques were a major turnoff for some critics at the Impressionist exhibit where A Sunday on La Grande Jatte —1884 debuted in 1886. Other observers sneered at the rigid profiles of Seurat’s subjects. Meant to recall Egyptian hieroglyphics, these poses were negatively compared to tin soldiers.
At first glance, Georges-Pierre Seurat’s A Sunday on La Grande Jatte —1884 seems a warm portrait of a sunny day in a lovely park. But a closer look at the Neo-Impressionist’s most famous work reveals much more.