seurat a sunday afternoon
The May 1976 issue of Playboy magazine featured Nancy Cameron—Playmate of the Month in January 1974—on its cover, superimposed on the painting in similar style. The often hidden bunny logo was disguised as one of the millions of dots. 
Seurat painted the La Grande Jatte in three distinct stages.  In the first stage, which was started in 1884, Seurat mixed his paints from several individual pigments and was still using dull earth pigments such as ochre or burnt sienna. In the second stage, during 1885 and 1886, Seurat dispensed with the earth pigments and also limited the number of individual pigments in his paints. This change in Seurat’s palette was due to his application of the advanced color theories of his time. His intention was to paint small dots or strokes of pure color that would then mix on the retina of the beholder to achieve the desired color impression instead of the usual practice of mixing individual pigments.
Paul Signac, “The Pine Tree at Saint-Tropez,” 1909 (Photo: Wikimedia Commons Public Domain)
Georges Seurat, “A Sunday Afternoon on the Island of La Grande Jatte,” 1884-1886 (Photo: The Art Institute of Chicago Public Domain)
Seurat’s use of this highly systematic and near-scientific technique  distinguished his art from the endlessly more intuitive approach to painting used by the Impressionists. Georges may have embraced the subject matter of modern life preferred by artists such as Claude Monet and Pierre-Auguste Renoir, but the way he depicted it on canvas couldn’t be any more different from the techniques of his peers.
The border of the painting is, unusually, in inverted color. This was Seurat’s last addition to the painting and it makes the entire piece appear as if it’s slowly inverting.
A Sunday Afternoon on the Island of La Grande Jatte
The planning and cast of Grande Jatte was notoriously as complex as the work itself and Seurat went through many sketched drafts before he arrived on the final plan for the painted piece. The cast comprised three dogs, eight boats and 48 people as they congregated for a Sunday afternoon in the sunny park.
When he graduated, his father insisted that he go to the School of Fine Arts in Madrid, on the grounds that if he had to be a painter, he should at least be qualified to teach. He would be expelled from the school not once, but twice. His first expulsion in 1923 was over his role in student protests involving painter Daniel Vázquez Díaz, who students felt had been unfairly denied a professorship in the painting department. However, Dalí returned to school the next year, only to face expulsion again in 1926.
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