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    • 1884 with a layer of small horizontal brushstrokes of complementary colors
    • later added small dots, also in complementary colors, that appear as solid and luminous forms when seen from a distance

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    • necessary outcome of Impressionist ideas or as deliberately anti-Impressionist, and an answer might be that it contains elements of both
    • analysis of colour, Seurat carried on, though in more systematic fashion

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    • represents a Sunday on the island of the Grande Jatte
    • often referred to as his “Manifesto Painting,”

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    • In the summer of 1884, Seurat embarked on another   major canvas, again depicting the popular boating place of Asnieres,   but this time focusing on the island of La Grande Jatte in the   Seine. With characteristic single-mindedness, he devoted his time   entirely to the composition. Every day for months he traveled   to his chosen spot, where he would work all morning. Each afternoon,   he continued painting the giant canvas in his studio.
    • After two years of concentrated, systematic work,   Seurat completed the painting in 1886, and exhibited it with the   Impressionist group in May of that year. La Grande Jatte   proved to be the main talking point of the exhibition, and he   was hailed by the critics as offering the most significant way   forward from Impressionism.

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