where is seurat sunday afternoon
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.
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  ).
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.
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.
Georges Seurat, A Sunday on La Grande Jatte,1884, Art Institute of Chicago
In 1899 Seurat re-stretched its canvas to allow for room to paint a border made up of red, orange and blue dots. It was suppose to make the whole concept of pointilism more visible, as well as putting the painting into white frame. Unfortunately, Seurat employed a then-new pigment, 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.
It is only after close inspection that the viewer sees some curious things happening. The lady on the right side has a monkey on a leash. The lady on the left that’s fishing is a metaphor for prostitution, something this part of Paris was well-known for back in the day. In the painting’s center stands a little girl dressed in white, the only figure that is not in a shadow. She stares directly at the viewer as if she’s silently questioning the audience.
In traditional painting, shadows are primarily represented by the color black, but the principles of Pointillism dictate that one should define his shadows by the color they come into contact with. The skirts of the women are definitely the best examples of this. On the other hand, Seurat’s use of light is also one of the unique points of the piece. The light from the left comes into contact with people and objects in the composition, and he did a truly masterful job of blending such colors.
Nevertheless, Dalí showed Freud his painting Metamorphosis of Narcissus, the first painting he made entirely using his paranoiac critical method, as well as an article he wrote on paranoia. The psychoanalyst later wrote to Stefan Zweig, who arranged the meeting, that Dalí was an “undoubtedly perfect technical master” who forced him to reconsider his opinion of Surrealists.
Once he’d added his painted border, Seurat reframed A Sunday on La Grande Jatte —1884 in a specially-made wooden frame painted a crisp white. This display choice is still in effect at the Art Institute of Chicago.