where is original seurat sunday afternoon
Then you fill the mixing saucer in the lid of the K12 paintbox with a larger amount of the previously mixed color (see confetti technique). For the beginning, the primary colors yellow, magenta-red and cyan-blue will do perfectly.
First, the students draw in pencil a simple geometric shape with thin lines on a piece of paper. Alternativly, you can download and print out our templates, which can immediately be used in class.
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.
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 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. 
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.
Paris, 23 Boulevard des Italiens, Exposition de La Revue Blanche, Georges Seurat: Oeuvres peintes et dessinées, March 19–April 5, 1900, cat. 17.
The Art Institute of Chicago, Art of the United Nations, November 16, 1944–January 1, 1945, no cat. no.
Seurat employed a then-new pigment in his painting, a zinc chromate yellow that he hoped would properly capture the highlights of the park’s green grasses. But for years this pigment has been undergoing a chemical reaction that began turning it brown even in Seurat’s lifetime.
In the 1950s, Ernest Bloch’s three-volume The Principle of Hope explored the socio-political interpretations of A Sunday Afternoon on the Island of La Grande Jatte, spurring a renewed interest and appreciation for the piece.