what kind of trees are in georges seurat a sunday on la grande jatte
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. 
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.
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.
In order to perfect his painting of the popular park, Seurat completed a collection of preliminary sketches and drawings. Taking a cue from the Impressionists, he created these studies away from his studio and en plein air. This approach enabled Seurat to capture the color, light, and movement of the scene before him, which he revisited several times before finishing the final large-scale painting in 1886.
A Sunday Afternoon on the Island of La Grande Jatte, detail, via Wikimedia Commons
A Sunday Afternoon on the Island of La Grande Jatte was initially started in 1884 with a layer of small horizontal brushstrokes of complementary colors. Seurat later added small dots that appear as solid and luminous forms when seen from a long enough distance. This was the way he spectacularly proved his theory, showing that employing tiny juxtaposed dots of multi-colored paint really can allow the viewer’s eye to blend colors optically. This turned out to be a revolutionary alternative to the way traditional painters went about defining forms within their artworks’ compositions.
A Sunday Afternoon on the Island of La Grande Jatte
In its remote location Seurat was able to capture an interesting glimpse of wealthy Parisian life in the 19th century. The painting sparked numerous interpretations and was criticized for being too mathematical. Upon its exhibition however, it was mostly heralded as a grand work of meticulous proportions.
Looking at the big picture you can see the details of the so-called geometric transformation. All beach “La Grande Jatte” space and the populations are not personalities and animated characters, and the facial features, which differ only in the manner of behavior and dress. figure catches the eye, which is devoid of any individual characteristics and traits. A hat with ribbons gives us to understand that this is a nurse, and her image painted from the back is reduced to gray geometric figure, crowned with a red circle and a cut on his head a red stripe.
What would be better to remember the terrain, poses and arrangement of characters to clarify the choice of parts master did a lot of sketches, so then select the more successful elements of his paintings. He analyzed everything: the dosage of local colors and light colors and effects are obtained when they are exposed to. And I sketched all the others, those that attracted his attention, and those whose