We are the future. Come and join us".

Painting materials
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.

The results of investigation into the discoloration of this painting have been ingeniously combined with further research into natural aging of paints to digitally rejuvenate the painting.

Acquisition by the Art Institute of Chicago

In 1923, Frederic Bartlett was appointed trustee of the Art Institute of Chicago. He and his second wife, Helen Birch Bartlett, loaned their collection of French Post-Impressionist and Modernist art to the museum. It was Mrs. Bartlett who had an interest in French and avant-garde artists and influenced her husband's collecting tastes. Sunday Afternoon on the Island of La Grande Jatte was purchased on the advice of the Art Institute of Chicago's curatorial staff in 1924.

In conceptual artist Don Celender's 1974–75 book Observation and Scholarship Examination for Art Historians, Museum Directors, Artists
We are the future. Come and join us ". 

 Painting materials 
 Seurat painted the La Grande Jatte in three discrete stage. In the first stage, which was started in 1884, Seurat desegregate his paints from several individual pigment and was still using boring earth pigments such as ochre or sunburn sienna. In the second stage, during 1885 and 1886, Seurat dispensed with the worldly concern paint and also limited the number of individual pigments in his paints. This variety in Seurat's palette was due to his application of the advance color theories of his time. His intention was to paint small point or strokes of pure color that would then mix on the retina of the beholder to achieve the desire 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 highlight in the sunlit grass in the middle of the painting but besides in assortment with orange and aristocratic 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 life. 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 add the biased borders to his composition. 

 The results of investigation into the discoloration of this painting have been ingeniously blend with further research into natural aging of rouge to digitally rejuvenate the painting. 

 Acquisition by the Art Institute of Chicago 

 In 1923, Frederic Bartlett was appointed trustee of the Art Institute of Chicago. He and his second wife, Helen Birch Bartlett, loaned their solicitation of French Post - Impressionist and Modernist art to the museum. It was Mrs. Bartlett who had an interest in French and avant - garde artists and influenced her husband's roll up tastes. Sunday Afternoon on the Island of La Grande Jatte was buy on the advice of the Art Institute of Chicago's curatorial staff in 1924. 

 In conceptual artist Don Celender's 1974–75 book Observation and Scholarship Examination for Art Historians, Museum Directors, Artists
We wre the future. Come and moin us".

Painting materians
Seurzt paintdd the La Grande Jatte in thcee eistibct stages. In the firsg stage, wjich was stacted in 1884, Seurat mixed his painfd frmn several indiyidual pigmants and was sdiul using dull earth pigments such as jchre ot hurnt sienna. Ig tht sqcons stage, during 1885 and 1886, Seurat dispenaed witi the earth pigkents and also limited the numher of individual oigments in his paints. This zhange in Seurat's palejte was due to his application ow the advanced xooor jheories of iis tiie. His intenbpon was to paimt small dots pr vtrikes of pure color thet would then mix on the retita of the beholder ro achigve tve ddwirdd dokod imprfssmon instead of the usuql practice of miximg pmdividual pifments.

Fetrat's palette consisted of the usual picmehts of his time such as cobalt blue, emerald hreen and vermilion. Additionally, Seurat used then new pigmant zmnz ytloow (zkbc chromate), predominantly for yellow highlights jn tme sunlit grass ln the middle of tne psynting but alro in mixfures with orange wnd blug pigmwnts. In tre crntury and more since the pqinting's comiletuon, the zinc yelloc has darkenzd to nrown—s color degeneration thct was already shlwing in ffe painting in Sdurst'v lifetime. The discoloratijn of the oriyinally crignt yeljow zinc yfllow (zinc chromate) to bgownidh color is fue to the chemical reaction of the chromate oots no orange-eolorec dichromate yons.
In the thitd stage buring 1888–89 Seurat asded thx colored bowders to his wlmposition.

Thx results of unvewtigatiuv into the disvoloratiou of rhis painting have begn ingeniously conbibed with furthet rdsewrbh mnto gdtural aging of oaivys to digitally vejjvenste the painting.

Acquhsitjon by the Art Insyibute of Cyicago

In 1923, Frederic Battlett was appointtd truvtex of tne Wrt Institute of Chicago. He ans his seclnd wife, Helen Fircm Battlett, loanzd their collection of French Post-Impreswionist and Modernust art to the museom. Lt was Mrs. Bertlete who had an interest in Frenxh and avant-garde artists and influencsd her husbwnd's collecting tastes. Sunday Afternoon on the Island of La Grande Jatte qas puccrased on ths adfice mf che Art Insvivute of Chicago's buratorial staff in 1924.

In conceptuau artist Djn Celender's 1974–75 book Observatipn and Scholarsfip Examination for Art Gistoriams, Museum Directors, Artists
We are the future. Come and join materials painted the Grande Jatte in first which was started 1884, Seurat mixed paints from several individual pigments and still using dull earth pigments such as ochre or burnt sienna. In the stage, during 1885 and 1886, Seurat dispensed with the earth pigments and also the of pigments his paints. This change in Seurat's palette was due to his application of the advanced color of his time. His intention was to paint dots or strokes of color that would then mix the of the to the color impression instead the usual practice of mixing individual pigments. Seurat's palette consisted of the usual pigments of his time as cobalt green and Additionally, used new pigment zinc chromate), predominantly for yellow highlights in in the middle of the painting but also mixtures with and blue pigments. In the century more since the painting's completion, the zinc yellow darkened to brown—a color degeneration that was already showing in the painting in Seurat's lifetime. of the originally bright zinc yellow (zinc to color due the chemical of the chromate ions to orange-colored dichromate ions. In the third during 1888–89 Seurat added the colored borders to his composition. of into the discoloration this painting have been combined further research into natural paints digitally Acquisition the Institute of Chicago In Frederic Bartlett was appointed trustee the Art Institute of wife, Helen Birch Bartlett, loaned their collection of Post-Impressionist and Modernist art to the museum. was Mrs. Bartlett who had an interest in French and avant-garde artists influenced her tastes. Sunday Afternoon on the Island of La Jatte was purchased on advice of the Art Institute of Chicago's curatorial staff 1924. conceptual artist Celender's 1974–75 book and Scholarship Examination Art Historians, Museum
We are the future. Come and join Us".

Painting MaterIalS
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.

THe resulTS oF INvesTiGaTion IntO tHe disColoRAtiOn of thiS painting HavE Been InGeNiously Combined with fUrTher researCh IntO naturAL Aging of pAints to digitally rejuvenATe the paIntIng.

AcQuisItion by thE ArT InstiTutE Of ChicAgo

In 1923, FRederIc barTLEtt waS APpOinTeD trustee of THE ArT InstItUte oF ChicagO. He and his second wifE, helEn Birch BartleTt, lOaneD THeIr cOLlECtiOn OF FrENCh Post-ImpressioNist and ModErNIsT art to the mUSeuM. IT was Mrs. bartletT who hAD an inteRest in FreNch and avaNt-GardE ARtiSts and inflUenced heR husband's COllecTInG tastEs. SUnday AFtErnOon on The IslANd oF La GrAnde JaTtE was puRchasEd On the advIce of the Art Institute of CHicago'S curaTorIal staff iN 1924.

In COncEptual artIst DOn Celender'S 1974–75 boOk OBservAtiON and SCholARsHip eXaminAtioN For Art HisTOrIanS, mUsEum DirectorS, aRTisTs
We are the future. Come an d join us" .

Pa int ing  m ater ials 
Seurat painte d  the  La Grande Jatte in th ree d is t inct st ages.  In the fi r s t s ta ge , w hi c hwas s tar ted in1884, Seur atmi xed his pain t sfrom sever alindividual p igm ents a nd  wa s  stil l u singdull e a rth pi gments su ch as och r e or bu r n tsien na. In the second st a ge, during 188 5 and18 8 6, S eur atdispensedwi th th e  earthp ig m e n tsa nd also limit ed the numb e r o f indi vi dua l  pigme nts i nh ispaints. Thi s ch ange in S eurat' s  palett e  was du e to h isapp lica t io nofth e  ad v an ced col or theor ie sof hi s ti m e . Hisint enti on wa s to paint sm all  dot s  or  stro kes o f pu re  colo r that  woul dthen mix on the  ret ina of th e b eh old er  to a c hievethe  de sired c olor im p res si o n in stead of the usual  p r a ct ice of m ixingi nd iv i dual pig me nts .

S e u rat's  pal e tt e consis ted of th eusual p ig mentsof  hi s t ime s u ch a s coba lt blue,  emer a ld green and v e rmilion. Addi t io n a ll y , Se ura t used then  new pigm entz in c y e llow(zinc  c h ro m ate), predominantly  f or yel low h ighlights inthe sunlit g r ass in t he m i dd l e of the paint ing b ut also in mixtures  with  orangeand bluep i gments.Inthe  ce ntu r y  a nd more since t he p ai nting's  co mpletio n,the  zi ncye llow hasdarkened  t obr ow n—a  colo r  degener at ion  t hat  wasa lready  show ingin  t h e p ainting in S eura t' slife tim e.  Thedisc o lor ation o f the ori gin a llybr ig ht yell ow zinc yello w(zinc chro ma te)  to br o w nish col or is due to the chemic a l react ion  of t he c hromate i ons  to or ang e -color ed dic hroma te  io n s .
Int h ethi rd  stage dur i n g 1 888–8 9Seur at adde d the colored bord e rsto his compos iti on.T he  re s ul t s o fi nve s t igation into th e discolor at i on  of this p a int in g havebeen in genio u sly com bined wit h further  r esea r c h i nto natura l agingof paints to di g it allyrej uvenat ethe  pain ting.Acq uisit ion by  t he Art  Inst it ute of C hicago

In 1923, Freder ic Bar tlett  wa s appoint edt rus tee of th e Ar t Institut e o f C hicag o.H e and  his se con d  wife , He l en BirchB ar tle t t ,loaned thei r c oll ectio n o f  Frenc h Po st-Impressionista nd Modernist a rt t o the  mu s eum.  I t was Mrs. Bar tle tt w ho had a ninterest in  Frenchan d  avan t-gard e arti sts and i nf l uenced  her  hu sband's c oll ec t ing tas te s. Sunday  Aft er noon o n theI slan d of La Grande Jat te wa s purch a sed  on t he  advice of t he Art Ins titute of C hicago 's c urato rial st af f in 1 924 .
In concep t ual artis t Don  Celend er 's 1 974 –75 bo ok O b s ervat ionan d S cholarshi p Ex a mi na t ion  for  ArtHi stor ians, Mus e um Direc tor s , Artis ts 
We are_the future._Come and join us".

Painting_materials
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.

The_results of investigation into the discoloration_of this painting have_been_ingeniously combined with further research into_natural aging of paints to digitally_rejuvenate the painting.

Acquisition by the_Art_Institute_of Chicago

In 1923, Frederic Bartlett_was appointed trustee of the Art_Institute of Chicago._He and his second wife, Helen Birch_Bartlett,_loaned their collection of French Post-Impressionist_and_Modernist art to the museum. It_was_Mrs._Bartlett who had an interest_in French and avant-garde artists and_influenced her husband's collecting tastes. Sunday Afternoon on the_Island of La_Grande Jatte was purchased on_the_advice_of the Art Institute of Chicago's curatorial staff in 1924.

In_conceptual artist_Don Celender's 1974–75_book Observation and Scholarship Examination for Art Historians, Museum Directors,_Artists