seurat’s sunday afternoon on the island of la grand jatte
In Topiary Park (formerly Old Deaf School Park) in Columbus, Ohio, sculptor James T. Mason re-created the painting in topiary form;  the installation was completed in 1989.
In conceptual artist Don Celender’s 1974–75 book Observation and Scholarship Examination for Art Historians, Museum Directors, Artists, Dealers and Collectors, it is claimed that the institute paid $24,000 for the work   (over $354,000 in 2018 dollars  ).
Seurat completed this monumental masterpiece in the 1880s. In order to craft the larger-than-life scene, the artist meticulously applied millions of hand-painted dots to the canvas. Seurat pioneered this technique when painting A Sunday Afternoon the the Island of La Grande Jatte, sparking the start of the Pointillist movement.
Though the subjects of A Sunday Afternoon on the Island of La Grande Jatte are rendered in an unrealistic and almost minimalist style, Seurat opted to place them in a range of positions (“of some we see the backs, some we see full-face, some in profile, some are seated at right angles, some are stretched out horizontally, some are standing up straight,” art critic Félix Fénéon remarked in 1886). This decision adds a sense of realism to the otherwise stylized depiction and helps draws the viewer into the receding scenery.
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 was painted in two sessions, the first between May 1884 and March 1885, and the second from October 1885 to May 1886. Seurat claimed he sat in the park for hours upon hours, creating numerous sketches of the various figures in order to perfect their form before he even thought about starting the actual painting.
Here the mix of green provides a blue shadow, which does not follow the conventions of shadow casting. Such a different approach in the creation of shadows is repeated in the dress of the woman on the right. Where the mix of light and green casts a yellow halo for the trees the same effect is mimicked here. The woman’s dress creates a slight yellow line before the onset of the shadow and this yellow hue can be seen particularly towards the back of her skirt.
A Sunday Afternoon on the Island of La Grande Jatte
Inspired by optical effects and perception inherent in the color theories of Michel Eugène Chevreul, Ogden Rood and others, Seurat adapted this scientific research to his painting. Seurat contrasted miniature dots or small brushstrokes of colors that when unified optically in the human eye were perceived as a single shade or hue. He believed that this form of painting, called divisionism at the time but now known as pointillism, would make the colors more brilliant and powerful than standard brushstrokes. The use of dots of almost uniform size came in the second year of his work on the painting, 1885–86. To make the experience of the painting even more vivid, he surrounded it with a frame of painted dots, which in turn he enclosed with a pure white, wooden frame, which is how the painting is exhibited today at the Art Institute of Chicago.
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.