sunday on the island of la grand jatte
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.
Seurat’s palette consisted of the usual pigments of his time   such as cobalt blue, emerald green and vermilion. Additionally, Seurat used then new pigment zinc yellow (zinc chromate), predominantly for yellow highlights in the sunlit grass in the middle of the painting but also in mixtures with orange and blue pigments. In the century and more since the painting’s completion, the zinc yellow has darkened to brown—a color degeneration that was already showing in the painting in Seurat’s lifetime.  The discoloration of the originally bright yellow zinc yellow (zinc chromate) to brownish color is due to the chemical reaction of the chromate ions to orange-colored dichromate ions.  In the third stage during 1888–89 Seurat added the colored borders to his composition.
This work is in the public domain in the United States because it was published (or registered with the U.S. Copyright Office) before January 1, 1925.
Paris, 23 Boulevard des Italiens, Exposition de La Revue Blanche, Georges Seurat: Oeuvres peintes et dessinées, March 19–April 5, 1900, cat. 17.
While the styles explored by Post-Impressionist artists are diverse, most featured flatness, formality, and exaggerated color in their work—characteristics that are evident in A Sunday Afternoon on the Island of La Grande Jatte.
After completing the painting in 1886, Seurat opted to exhibit it in the eighth and final Impressionist exhibition. While it was met with mixed reviews, it remained the artist’s most well-known work of art until (and after) his untimely death in 1891.
At first glance, the viewer sees many different people relaxing in a park by the river and nothing appears out of the ordinary. On the right, a fashionable couple is on a stroll. On the left, another well-dressed woman extends her fishing pole over the water. There is a small man with a black hat looking at the river, a white dog with a brown head, a man playing a horn, two soldiers standing at attention, a couple admiring their infant child, etc.
Other than the little girl, all of the figures in A Sunday Afternoon on the Island of La Grande Jatte are cloaked in shadow, almost robbed of their identities.
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.
Dalí painted one of his earliest known works, Landscape of Figueres, in 1910, when was about 6 years old. The oil-on-postcard work depicts a scene in his Catalonia hometown, and now hangs in the Salvador Dalí Museum in St. Petersburg, Florida. He also found success relatively early; he created his most iconic work, The Persistence of Memory, when he was just 27.