georges seurat a sunday afternoon on the island of la grande jatte 1884–1886
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  ).
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.  
Seurat’s groundbreaking techniques were a major turnoff for some critics at the Impressionist exhibit where A Sunday on La Grande Jatte —1884 debuted in 1886. Other observers sneered at the rigid profiles of Seurat’s subjects. Meant to recall Egyptian hieroglyphics, these poses were negatively compared to tin soldiers.
“This picture is one single mosaic of boredom, a masterful rendering of the disappointed longing and the incongruities of a dolce far niente [idleness],” Bloch wrote. “The painting depicts a middle-class Sunday morning on an island in the Seine near Paris…despite the recreation going on there, seems to belong more to Hades than to a Sunday…The result is endless boredom, the little man’s hellish utopia of skirting the Sabbath and holding onto it too; his Sunday succeeds only as a bothersome must, not as a brief taste of the Promised Land.”
The border of the painting is, unusually, in inverted color. This was Seurat’s last addition to the painting and it makes the entire piece appear as if it’s slowly inverting.
A Sunday Afternoon on the Island of La Grande Jatte was painted in two sessions, the first between May 1884 and March 1885, and the second from October 1885 to May 1886. Seurat claimed he sat in the park for hours upon hours, creating numerous sketches of the various figures in order to perfect their form before he even thought about starting the actual painting.
After completing the painting in 1886, Seurat opted to exhibit it in the eighth and final Impressionist exhibition. While it was met with mixed reviews, it remained the artist’s most well-known work of art until (and after) his untimely death in 1891.
While the styles explored by Post-Impressionist artists are diverse, most featured flatness, formality, and exaggerated color in their work—characteristics that are evident in A Sunday Afternoon on the Island of La Grande Jatte.
Inspired by optical effects and perception inherent in the color theories of Michel Eugène Chevreul, Ogden Rood and others, Seurat adapted this scientific research to his painting. Seurat contrasted miniature dots or small brushstrokes of colors that when unified optically in the human eye were perceived as a single shade or hue. He believed that this form of painting, called divisionism at the time but now known as pointillism, would make the colors more brilliant and powerful than standard brushstrokes. The use of dots of almost uniform size came in the second year of his work on the painting, 1885–86. To make the experience of the painting even more vivid, he surrounded it with a frame of painted dots, which in turn he enclosed with a pure white, wooden frame, which is how the painting is exhibited today at the Art Institute of Chicago.
A Sunday Afternoon on the Island of La Grande Jatte (French: Un dimanche après-midi à l’Île de la Grande Jatte) painted in 1884, is one of Georges Seurat’s most famous works. It is a leading example of pointillist technique, executed on a large canvas. Seurat’s composition includes a number of Parisians at a park on the banks of the River Seine.