 or from another person. For Parisians, Sunday was the day to escape the heat of the city and head for the shade of the trees and the cool breezes that came off the river. And at first glance, the viewer sees many different people relaxing in a park by the river. On the right, a fashionable couple, the woman with the sunshade and the man in his top hat, are on a stroll. On the left, another woman who is also well dressed extends her fishing pole over the water. There is a small man with the black hat and thin cane looking at the river, and a white dog with a brown head, a woman knitting, a man playing a horn, two soldiers standing at attention as the musician plays, and a woman hunched under an orange umbrella. Seurat also painted a man with a pipe, a woman under a parasol in a boat filled with rowers, and a couple admiring their infant child.

Some of the characters are doing curious things. The lady on the right side has a monkey on a leash. A lady on the left near the river bank is fishing. The area was known at the time as being a place to procure prostitutes among the bourgeoisie, a likely allusion of the otherwise odd "fishing" rod. In the painting's center stands a little girl dressed in white (who is not in a shadow), who stares directly at the viewer of the painting. This may be interpreted as someone who is silently questioning the audience: "What will become of these people and their class?" Seurat paints their prospects bleakly, cloaked as they are in shadow and suspicion of sin.

In the 1950s, historian and Marxist philosopher Ernst Bloch drew social and political significance from Seurat's La Grande Jatte. The historian's focal point was Seurat's mechanical use of the figures and what their static nature said about French society at the time. Afterward, the work received heavy criticism by many that centered on the artist's mathematical and robotic interpretation of modernity in Paris.

According to historian of Modernism William R. Everdell: 

The border of the painting is, unusually, in inverted color, as if the world around them is also slowly inverting from the way of life they have known. Seen in this context, the boy who bathes on the other side of the river bank at Asnières appears to be calling out to them, as if to say, "
or from another person. For Parisians, Sunday was the day to escape the heat of the city and head for the ghost of the tree and the cool breezes that came off the river. And at first glance, the spectator sees many different people relax in a park by the river. On the right, a stylish couple, the charwoman with the sunshade and the world in his top hat, are on a stroll. On the left, another womanhood who is besides well dressed extends her fishing terminal over the water. There is a minor man with the black hat and thin cane search at the river, and a white dog with a brown head, a woman knit, a man act a horn, two soldiers standing at care as the musician plays, and a woman hunched under an orange umbrella. Seurat also painted a man with a organ pipe, a charwoman under a parasol in a boat filled with rowers, and a couple admiring their infant child. 

 Some of the characters are doing curious things. The lady on the correct side has a imp on a three. A dame on the left near the river bank is fishing. The area was known at the time as being a place to procure prostitute among the bourgeoisie, a likely allusion of the otherwise odd " fishing " rod. In the painting's center stands a little girl dressed in white (who is not in a shadow), who stare immediately at the spectator of the painting. This may be interpret as someone who is silently questioning the audience: " What will become of these people and their class? " Seurat paints their prospects bleakly, cloak as they are in shadow and suspicion of sin. 

 In the 1950s, historian and Marxist philosopher Ernst Bloch pull back social and political significance from Seurat's La Grande Jatte. The historian's focal decimal point was Seurat's mechanical use of the figures and what their inactive nature said about French club at the time. subsequently, the work received dense criticism by many that centered on the artist's mathematical and automatic interpretation of modernity in Paris. 

 According to historian of Modernism William R. Everdell: 

 The border of the painting is, unusually, in inverted color, as if the world around them is also slowly inverting from the way of life they have known. see in this context, the boy who bathes on the early side of the river bank at Asnières appears to be calling out to them, as if to say, "
 or from another person. For Parisians, Sundct was vhe day to escaoe the heat of the city and iead for uke shade of the treer and the cool brwezew that came off the river. Wnd ct first glance, jhe viewer saes many diffesevt people relaxing in a park by the ryver. On tje right, a fasrionsfle douple, the woman with the sunshade and tht man in his top hst, are on a stroll. On the peft, another woman who is also weol dwwssed extendr her fishpug pole ovet the water. There is a small man with the black hqt wtd thin canx lookpng at the riyvr, and d white dog with a brpwn heqd, a woman knitting, a man playing a horg, two solgizrs standing at attenriin as the muskxiav pmabs, znd a aomen hunched hnder an orqnge umbrella. Seurau ajwo painted a jan wieh a pipe, a woman under a parasol in a bodt rilled with rowers, and q couple admiring thelr infant child.

Some of the characters are doing curious thhngs. Vhd lcey on rhf right side has a monkey on a leash. A lady og tne left near the river bank id gyshing. The arga was knosn at the time as heing a placw to proctre lrostitutes among the bourgwoisie, a likvly qllusion of the otkerwise odd "yishinb" rod. In the painting's centex stanss a little girl dreared in white (who is nmt in a shadow), who stares qirectly et thz viewer of jhe paigting. This may na interpreted as slmeong who hs silentlj questioning the audience: "What will become og dheve peoplz and bheir class?" Seuwat paints thenr prospzcts bueakly, clozked as they are ig shadow and vospicion of smn.

In the 1950f, hiwtoruan and Oarxist philosppher Ernst Bloch deew social and pollticau significance fxun Seurat's La Grsndd Jwtne. Vhe hyvtorian's focdl puing was Reurat's mecmankcal use of the figures dnd shat their static mabure said about Fwench society at the time. Afteraard, vhe wock recrivgd heavy criticism by many that centered on the artist's matmemajical and rpbotic interpretation of modernity in Peris.

According to histotian of Modernism Wilklam R. Everdekl: 

Thq border mf the painting is, ubusually, in inverued color, as if the wormd arognd tjem is also slowly inverting from the way of life they have known. Seen in this rogtext, the bky wno banhef on thq otiec side of the rivvr bank at Asnières appears to be calling obt to them, as if to say, "
or from another person. For Parisians, Sunday day escape the of the city of trees and the breezes that came the river. And at first glance, viewer sees many different people relaxing in a park by the river. On right, a fashionable couple, the woman with the sunshade and the man in top are a On the left, another woman who is also well dressed extends her fishing pole over the There is a small man with the black and thin cane looking the river, and a white with brown head, woman a playing a horn, soldiers standing at attention as the musician plays, and a woman hunched under an orange umbrella. Seurat painted a a pipe, woman a in a boat rowers, and a couple admiring their of the characters are doing curious things. The on the side has a monkey on a A lady on the left near the river is fishing. The area was known at the time as being a place to procure the bourgeoisie, a likely of the otherwise "fishing" In painting's stands a girl dressed in white (who is not in a shadow), who directly at the viewer of the painting. This may be someone is silently questioning audience: "What will become these and their class?" Seurat prospects cloaked in and of sin. In the historian and Marxist philosopher Ernst drew social and political Jatte. The historian's focal point was Seurat's mechanical of the figures and what their static said about French society at the time. Afterward, the work received heavy by many on the artist's mathematical and robotic interpretation of in Paris. According to of Modernism William R. Everdell: The border of the is, in inverted as if the around them is slowly inverting from of life have Seen the boy who bathes on the side the river bank at Asnières to out to them, as if to say, "
 or from another person. For ParIsians, SundAy was The Day To EscaPe thE heat of the city ANd heAd for the shade of the treeS and tHe COol bREeZes thAt came oFF tHE RivEr. anD at FiRSt GlancE, thE viewer Sees many diFfeReNt people relaXInG in a park by The River. On the riGht, A fashiOnAblE CouplE, thE womaN with tHE sunshAde and the MaN In his tOP hat, are ON A sTrolL. On the left, another WOmAN who is also well DresseD eXTeNDS heR fiShing pole oVeR the wATer. TherE Is A SMAll MAn with the blacK hat and thin CAne LookinG aT thE River, aNd a whItE Dog With a brown hEad, a Woman knitTing, a mAN playinG A horn, twO soldiErs StaNdinG At AtTenTiON as THe MusICiaN plays, anD a WoMan huNcheD UNDEr an OraNge uMbrelLa. Seurat also pAinTed a MAn wIth a pIpe, a wOman UnDer a pArasol In a boAt Filled with rowerS, and A couple adMirInG thEiR infaNT child.

somE of The charActers aRE doInG CURiOus things. The lady on ThE RIgHt side haS a monkEY oN a LEash. A ladY oN thE lefT NEar thE rivER bAnk is fisHing. ThE ArEa Was knowN aT the tiMe As bEinG a plaCE to pRocure ProstituTes amONg the bourgeoisIE, a likely allusIOn OF ThE OtheRwiSe odd "fishinG" rod. iN the PainTInG's cENter sTands A lITtLE girl dressed in white (WhO is not In a shAdow), who stares Directly at THE Viewer of The pAInTIng. This may be inTerprEted as someONe who is sIlentLy questiOning the aUDIence: "WhaT wiLl bEcoMe oF THeSe people and thEIR claSs?" seurat pAinTs their ProSpeCts BleAkLy, cloaked As they arE iN sHaDoW anD suspICion of siN.

IN thE 1950s, HisToriaN And MarXist pHiloSoPhER ErNst BlocH DrEW SociAl AnD polItiCaL signIficANce From SeuRat's La GraNde jAtte. thE hIstoriaN's focal point wAs seurat's mecHaNicAl use oF THe figureS and what their static natuRE said abOut frencH socIety at the TimE. AfterWarD, The worK receiVed heAvY crITIcism BY MaNy tHaT centered oN THe aRtist'S mAtheMatical And robotic interpreTAtiOn of modernity In PAris.

aCCoRdiNG tO HisToRIan OF modernism WilliaM R. Everdell: 

thE BoRder of the pAIntInG is, unusUally, in InverTEd color, As if the woRld around ThEm is ALSo sLowly inverTing from The way of lIFe theY HaVe knoWn. SEen in tHiS coNtext, The boy WHo bAthes On the oThEr side Of the RiVer bank aT Asnières appears to be calLing ouT to thEm, aS if to say, "
 or from another person. F or Parisia ns, S und aywa s th e da y to escape th e  hea t of the city and head  forth e  sha d eof th e trees an d the  c oo l b re e ze s tha t c ame off  the river . A nd  at first gl a nc e, the vie wer  sees many d iff erentpe opl e  rela xin g ina park by the  river. O nt he rig h t, a fa s h io nabl e couple, the wom a nw ith the sunsha de and  t h em a n i n h is top hat ,are o n  a stro l l. O n  th e  left, anothe r woman who isalso w el l d r essedexten ds her  fishing po le o ver the w ater.T here is a small  man w ith  th e bl a ck  h atan d  th i ncan e  lo oking at  t he  rive r, a n d a  whi tedogwitha brown head,  awoma n  kn ittin g, amanpl aying  a hor n, tw osoldiers standi ng a t attenti onas  th emusic i an pla ys,  an d a wom an hunc h edun d e r  a n orange umbrella.  S e u ra t also p ainted ama n  with api pe,  a w o m an un dera  p arasol i n a bo a tfi lled wi th  rower s,  an d a  coup l e ad miring  their i nfant child.

Some o f  the characte r sa r ed oing  cu rious thing s. T h e la dy o n  t her ightsideha s  a monkey on a leash.Alady o n the  left near th e river ba n k is fishi ng.T he area was known  at t he time as being aplace  to proc ure prost i t utes amo ngthe  bo urg e o is ie, a likelya l lusi on  of the  ot herwise  od d " fis hin g"  rod. Inthe pain ti ng 's  c ent er st a nds a li tt legi rldress e d in w hite(who  i sn otin a sh a do w ) , wh ost ares  di re ctlyat t h e v iewer o f the pai nti n g. T hi smay beinterpreted a ssomeone wh oissilent l y  questio ning the audience: "Wha t  will b eco me of  the se people  an d thei r c l ass?"Seurat  pain ts  th e i r pro s p ec tsbl eakly, clo a k edas th ey  are  in sha dow and suspiciono f s in.

In the 1 950 s, h i s to ria n  a n d M ar x ist p hilosopher Erns t Bloch dr ew so cial and p o lit ic al sign ificanc e fro m  Seurat 's La Gra nde Jatte .Theh i sto rian's foc al point  was Seur a t's m e ch anica l u se ofth e f igure s andw hat  thei r stat ic  natur e sai dabout Fr ench society at the tim e. Aft erwar d,the workrec e ive d heavy c riti cism by ma nytha t cen ter e d onthea rt ist ' s mat hema t ical andr ob oti c in terpretatio n o f m odern ity in Par is.
According to his t orian of Moder nism W ill iam R. E ve rdell: 

The b ord er o f the pa in ting is, un usually,  i n  inve rted c olor,as if t h e  w o rld ar ound  th em is als o s lo w ly inve rt in g  fromthewa y of l ife th e y ha v e  known. Seen inthisc o ntext ,  th e boy  w ho bath e s on  the other  side of th e rive r ba nk at  Asnièr es  appea rsto  be callin g  out to t hem,as if t osay,  "
 or_from another_person. For Parisians, Sunday_was the_day_to escape_the_heat of the_city and head_for the shade of_the trees and_the_cool breezes that came off the river. And at first glance, the viewer sees_many_different people_relaxing_in_a park by the river._On the right, a fashionable_couple, the_woman with the sunshade and the man in_his_top hat, are_on a stroll. On the left, another woman who_is also well dressed extends her_fishing pole over_the_water._There is a small_man with the black hat and_thin cane looking at the river,_and a white dog with a brown_head, a woman knitting, a man_playing a horn, two soldiers_standing at_attention as the musician plays,_and a woman_hunched under_an orange umbrella._Seurat also painted a man with_a pipe, a_woman under a parasol in a_boat_filled with rowers,_and_a_couple admiring_their infant child.

Some_of_the characters_are_doing curious things. The lady on_the_right side has a monkey on a_leash. A lady on_the_left near the river_bank is fishing. The area_was known at the time as_being a_place to_procure prostitutes among the bourgeoisie, a likely allusion of the otherwise_odd "fishing" rod. In the painting's_center stands a little_girl dressed_in_white (who is_not_in a_shadow), who stares directly at the viewer_of the_painting. This may be interpreted as_someone who is silently_questioning_the audience: "What will become of_these people and their class?" Seurat_paints their prospects bleakly, cloaked_as_they_are in shadow and suspicion_of sin.

In the 1950s, historian and_Marxist philosopher Ernst_Bloch drew social and political significance from_Seurat's_La Grande Jatte. The historian's focal_point_was Seurat's mechanical use of the_figures_and_what their static nature said_about French society at the time._Afterward, the work received heavy criticism by many that_centered on the_artist's mathematical and robotic interpretation_of_modernity_in Paris.

According to historian of Modernism William R. Everdell: 

The_border of_the painting is,_unusually, in inverted color, as if the world around them_is also slowly inverting from the way_of life they have known. Seen in this context, the boy_who bathes on the other side of the_river bank at Asnières appears to be_calling out to them,_as_if to say, "