which has been re-created at the Art Institute<\/a>.<\/p>\n","short_description":"For his largest and best-known painting, Georges Seurat depicted Parisians enjoying all sorts of leisurely activities\u2014strolling, lounging, sailing, and fishing\u2014in the park called La Grande Jatte on the River Seine. He used an innovative technique called Pointillism that was inspired by optical and color theory, applying tiny dabs of different colored paint that viewers would see as a single, and Seurat believed, more brilliant hue.","dimensions":"207.5 \u00d7 308.1 cm (81 3\/4 \u00d7 121 1\/4 in.)","dimensions_detail":[{"depth":null,"width":308,"height":207,"diameter":null,"clarification":null}],"medium_display":"Oil on canvas","inscriptions":"Inscribed at lower right: Seurat","credit_line":"Helen Birch Bartlett Memorial Collection","catalogue_display":"de Hauke 162<\/p>","publication_history":"Jules Christophe, Georges Seurat (Paris, 1890).\n\nGustave Kahn, \u201cSeurat,\u201d L\u2019Art Moderne 11 (April 5, 1891), pp. 107-10.\n\nHenry van de Velde, \u201cGeorges Seurat,\u201d La Wallonie 6 (March\/April 1891), pp. 167-71.\n\nEmile Verhaeren, \u201cMort de Georges Seurat,\u201d La Nation (April 1, 1891).\n\n\nEmile Verhaeren, \u201cGeorges Seurat,\u201d La Soci\u00e9t\u00e9 nouvelle (April 30, 1891), pp. 430-38.\n\nT\u00e9odor de Wyzewa, \u201cGeorges Seurat,\u201d L\u2019Art dans les Deux Mondes 22 (April 18, 1891), pp. 263-64.\n\nJules Christophe, \u201cSeurat,\u201d La Plume (September 1, 1891).\n\nPaul Signac, D\u2019Eug\u00e8ne Delacroix au n\u00e9o-impressionnisme (Paris, 1899).\n\nEmile Verhaeren, \u201cGeorges Seurat,\u201d L\u2019Art Moderne 15, 13 (April 1, 1900), p. 104.\n\nThad\u00e9e Natanson, \u201cUn Primitif d\u2019aujourd\u2019hui: Georges Seurat,\u201d La Revue Blanche 21 (April 1900), pp. 610-14.\n\nEmile Verhaeren, \u201cNotes: Georges Seurat,\u201d La Nouvelle Revue Fran\u00e7aise 1 (February 1, 1909), p. 92.\n\nRoger Fry, \u201cThe Post-Impressionsists,\u201d in Manet and the Post-Impressionists, exh. cat. (Grafton Galleries, London, 1910-11), pp. 8-9.\n\nLucie Cousturier, \u201cGeorges Seurat,\u201d L\u2019Art D\u00e9coratif 27 (20 June 1912), pp. 357-72.\n\nElie Faure, Les Constructeurs (Paris, 1914).\n\nF\u00e9lix F\u00e9neon, \u201cGeorges Seurat,\u201d Bulletin de la Vie Artistique 7 (14 May 1914); reprinted in F\u00e9lix F\u00e9n\u00e9on, Oeuvres plus que compl\u00e8tes, ed. Joan Halperin (Geneva, 1970), pp. 293-94.\n\nRoger Bissi\u00e8re, \u201cNotes sur l\u2019art de Seurat,\u201d L\u2019Esprit Nouveau 1 (Oct. 1920), pp. 13-28.\n\nAndr\u00e9 Salmon, \u201cGeorges Seurat,\u201d The Burlington Magazine 37 (September 1920), pp. 115-22.\n\nRoger Fry, \u201cRetrospect\u201d in Vision and Design (London, 1920), pp. 188-199.\n\nLucie Cousturier, Seurat (Paris, 1921), p. 17, pl. 11.\n\nJ. Carr\u00e9. \u201cLe Grand Art. Georges Seurat,\u201d La Vie (September 1, 1922).\n\nAndr\u00e9 Salmon, Propos d\u2019atelier (Paris, 1922).\n\nAndr\u00e9 Lhote, Georges Seurat (Rome, 1922), pl. 4.\n\nAndr\u00e9 Lhote, \u201cSeurat\u201d in Parlons peinture, 1922; reprinted in Ecrits sur la peinture (Brussels, 1946).\n\nWalter Pach, \u201cGeorges Seurat (1853-1891),\u201d The Arts 3 (March 1923), pp. 160-74.\n\nWalter Pach, Georges Seurat (New York, 1923), pl. 6.\n\nGustave Coquiot, Seurat (Paris, 1924), pp. 214-19, ill. opp. p. 216, 247.\n\nF\u00e9lix F\u00e9n\u00e9on, \u201cPr\u00e9cisions concernant Seurat,\u201d Bulletin de la Vie Artistique (15 August 1924); reprinted in F\u00e9lix F\u00e9n\u00e9on, Oeuvres plus que compl\u00e8tes, ed. Joan Halperin (Geneva, 1970), pp. 467-68.\n\nExhibition of Paintings and Drawings by Georges Seurat, foreward by Walter Pach (New York, Brummer Galleries, 1924).\n\nGuy Eglinton, \u201cThe Theory of Seurat,\u201d International Studio 81 (May 1925), pp. 113-17.\n\nF\u00e9lix F\u00e9n\u00e9on, \u201cGeorges Seurat und die oeffentliche Meinung,\u201d Der Querschnitt 6 (October 1926), pp. 767-70. \n\nRoger Fry, \u201cGeorges Seurat,\u201d The Dial 1926, reprinted in R. Fry, Transformations, Critical and Speculative Essays on Art, 1926, pp. 188-96 and Sir Anthony Blunt, Seurat (1965), pp. 9-22.\n\nAm\u00e9d\u00e9e Ozenfant, \u201cSeurat,\u201d Cahiers d\u2019Art 7 (September 1926), p. 172.\n\nFlorent Fels, \u201cLa Peinture fran\u00e7aise aux XIXe et Xxe si\u00e8cles, Seurat,\u201d A.B.C. Magazine d\u2019Art (1927), pp. 282-87.\n\nAndr\u00e9 Lhote, \u201cExpositions Seurat et Roger de la Fresnaye,\u201d (1927); reprinted in La Peinture, Le Coeur et l\u2019Esprit (Paris, 1933).\n\nClaude Roger-Marx, \u201cGeorges Seurat,\u201d Gazette des Beaux-Arts (December 1927), pp. 311-18.\n\nChristian Zervos, \u201cUn Dimanche \u00e0 la Grande Jatte et la technique de Seurat,\u201d Cahiers d\u2019Art 9 (1928), pp. 361-75.\n\nAlfred Barr, The Museum of Modern Art First Loan Exhibition New York November 1929; C\u00e9zanne, Gauguin, Seurat, Van Gogh, exh. cat. (Museum of Modern Art, New York 1929), pp. 23-27.\n\nRobert Rey, \u201cSeurat,\u201d in La Peinture fran\u00e7aise \u00e0 la fin du XIXe si\u00e8cle, La Renaissance du Sentiment Classique, Degas, Renoir, Gauguin, C\u00e9zanne, Seurat (Paris, 1931), pp. 95-134.\n\nB.E. Werner, \u201cGeorges Seurat,\u201d Die Kunst 65 (February 1932), pp. 147-52.\n\nF. Walter, \u201cDu Paysage Classique au surr\u00e9alisme: Seurat,\u201d Revue de l\u2019Art Ancien et Moderne 63 (April 1933), pp. 165-76.\n\nP. Signac, \u201cLes \u00e9tapes de la peinture contemporaine: Georges Seurat,\u201d Beaux-Arts (December 15, 1933), p. 1.\n\nL\u00e9vy-Gutmann, \u201cSeurat et ses amis,\u201d Art et D\u00e9coration 63 (Jan. 1934), pp. 36-37.\n\nPaul Signac, \u201cLe n\u00e9o-impressionisme,\u201d Gazette des Beaux-Arts 11 (January 1934), pp. 49-59.\n\nDaniel Catton Rich, Seurat and the Evolution of \u201cLa Grande Jatte\u201d (Chicago, 1935).\n\nMeyer Schapiro, \u201cSeurat and \u201cLa Grande Jatte\u201d,\" The Columbia Review 17 (November 1935), pp. 9-16.\n\nA. Watt, \u201cArt of Georges Seurat,\u201d Apollo 23 (March 1936), pp. 168-69.\n\nJ. H\u00e9lion, \u201cSeurat as a predecessor,\u201d The Burlington Magazine 69 (July 1936), pp. 4-14.\n\nPaul Signac, \u201cThe Neo-Impressionist Movement,\u201d in Seurat and his Contemporaries, exh. cat. (London, Wildenstein, 1937).\n\nGeorges Duthuit, \u201cSeurat\u2019s System,\u201d The Listener 17, 421 (February 3, 1937), pp. 210-11.\n\nD. Goldring, \u201cLondon Art News: Seurat and His Contemporaries,\u201d London Studio 13 (April 1937), p. 219.\n\n\u201cSeurat,\u201d Apollo 32 (July 1940), pp. 11-12.\n\nR. J. Goldwater, \u201cSome Aspects of the Development of Seurat\u2019s Style,\u201d Art Bulletin 23 (June 1941), pp. 117-30.\n\nLionello Venturi, \u201cThe Art of Seurat,\u201d Gazette des Beaux-Arts (July-Dec. 1944), pp. 421-30.\n\nJohn Rewald, Georges Seurat (New York, 1946).\n\nGeorges Duthuit, \u201cGeorges Seurat, Voyant et physicien,\u201d Labyrinthe [Geneva] (December 1946).\n\nGermain Seligman, The Drawings of Georges Seurat (New York, 1947).\n\nAndr\u00e9 Lhote, Seurat (Paris, 1948).\n\nAndr\u00e9 Lhote, \u201cLe classicisme de Seurat; excerpts,\u201d Arts (June 18, 1948), p. 2.\n\nThad\u00e9e Natanson, \u201cL\u2019Ecole de Seurat,\u201d in Peints \u00e0 leur tour (Paris, 1948), pp. 121-29.\n\nJohn Rewald, \u201cSeurat: the meaning of the dots,\u201d Art News 48 (April 1949), pp. 24-27, 61-63.\n\nUmbro Apollonio, \u201cDisegni di Georges Seurat,\u201d in XXV Biennale di Venezia, Catalogo (Venice, 1950), pp. 175-79.\n\n\u201cSunday at the Grande Jatte,\u201d Life 31 (July 23, 1951), pp. 60-64.\n\n\u201cPointillism with Paint and Camera,\u201d Design 53 (March 1952), p. 141.\n\n\"Chicago's Fabulous Collectors\" Art Institute Announces it will Get Treasures from their Homes,\" Life Magazine (October 27, 1952): 90.\n\nJohn Rewald, \u201cSeurat and His Friends,\u201d in Seurat and His Friends, exh. cat. (New York, Wildenstein, 1953).\n\nTerence Mullaly, \u201cPointillists,\u201d Apollo 63 (June 1956), pp. 185-89.\n\nD.C. Rich, ed., Seurat Paintings and Drawings, exh. cat. (Chicago, 1958).\n\nD. C. Rich, \u201cPlace of Seurat,\u201d Art Institute Quarterly 52 (February 1958), pp. 1-5.\n\nL. Katz, \u201cSeurat: Allegory and Image,\u201d Arts 32 (April 1958), pp. 40-47.\n\nMeyer Schapiro, \u201cNew Light on Seurat,\u201d Art News 57 (April 1958), pp. 22-24, 44-45, 52.\n\nJ. O. Kerr, \u201cSeurat: the Silent Post-Impressionist,\u201d Studio 155 (May 1958), pp. 129-33.\n\nRobert L. Herbert, \u201cSeurat in Chicago and New York,\u201d The Burlington Magazine 100 (May 1958), pp. 146-155.\n\nRobert L. Herbert, \u201cSeurat and Jules Ch\u00e9ret,\u201d Art Bulletin 40 (June 1958), pp. 156-58.\n\nWilliam I. Homer, \u201cSeurat\u2019s formative period: 1880-1884,\u201d Connoisseur 142 (September 1958), pp. 58-62.\n\nHenri Dorra and John Rewald, Seurat (Paris, 1959), no. 139 (ill.).\n\nRobert L. Herbert, \u201cSeurat and Puvis de Chavannes,\u201d Yale University Art Gallery Bulletin 25 (October 1959), pp. 22-29.\n\nRobert L. Herbert, \u201cSeurat and Emile Verhaeren: Unpublished Letters,\u201d Gazette des Beaux-Arts 54 (December 1959), pp. 315-28.\n\nC\u00e9sar M. De Hauke, Seurat et son oeuvre 2 vol. (Paris, 1961), no. 162.\n\nJohn Russell, Seurat (London, 1965).\n\nJohn House, \"Meaning in Seurat's Figure Painting,\"Art History 3, 3 (September 1980), pp. 345-56.\n\nRichard Thomson, \u201c \u2018Les Quat\u2019 Pattes\u2019: The Image of the Dog in Late Nineteenth-Century French Art,\u201d Art History 5 (September 1982), pp. 331-37.\n\nJeroen Stumpel, \"The Grande Jatte, that patient tapestry,\" Simiolus 14 (1984), pp. 209-24.\n\nRichard Thomson, Seurat (Oxford, 1985), pp. 97-126.\n\nRichard R. Brettell, \u201cThe Bartletts and the \u2018Grande Jatte:\u2019 Collecting Modern Painting in the 1920s,\u201d Art Institute of Chicago Museum Studies 12, 2 (1986), pp. 103-113 (ill.).\n\nAlan Lee, \u201cSeurat and Science,\u201d Art History 10 (June 1987), pp. 203-26.\n\nS. Hollis Clayson, \u201cThe Family and the Father: The Grande Jatte and its Absences,\u201d\nThe Art Institute of Chicago Museum Studies 14, 2 (1989), pp. 155-72.\n\nStephen F. Eisenman, \u201cSeeing Seurat Politically,\u201d The Art Institute of Chicago Museum Studies 14, 2 (1989), pp. 211-21.\n\nMary Mathews Gedo, \u201cThe Grande Jatte as the Icon of a New Religion: A Psycho-Iconographic Interpretation,\u201d The Art Institute of Chicago Museum Studies 14, 2 (1989), pp. 223-37.\n\nJohn House, \u201cReading the Grande Jatte, \u201d The Art Institute of Chicago Museum Studies 14, 2 (1989), pp. 115-31.\n\nLinda Nochlin, \u201cSeurat\u2019s Grande Jatte: An Anti-Utopian Allegory,\u201d The Art Institute of Chicago Museum Studies 14, 2 (1989), pp. 133-53.\n\nRichard Thomson, \u201cThe Grande Jatte: Notes on Drawing and Meaning,\u201d The Art Institute of Chicago Museum Studies 14, 2 (1989), pp. 181-97.\n\nMichael Zimmerman, \u201cSeurat, Charles Blanc, and Naturalist Art Criticism,\u201d The Art Institute of Chicago Museum Studies 14, 2 (1989), pp. 199-209.\n\nJean Claude Lebensztejn, Chahut (Paris, 1989).\n\nNatasha Staller, \u201cBabel: Hermetic Languages, Universal Languages, and Anti-Languages in fin de si\u00e8cle Parisian Culture,\u201d Art Bulletin 76 (June 1994), pp. 331-54.\n\nFritz Novotny, Painting and Sculpture in Europe, 1780-1880 (New Haven, 1995), p. 370.\n\nPaul Smith, Seurat and the Avant-Garde (New Haven, 1997).\n\nSuzanne Folds McCullagh, \u201c\u2018A Lasting Monument\u2019: The Regenstein Collection at the Art Institute of Chicago,\u201d Art Institute of Chicago Museum Studies 26, 1 (2000), p. 13.\n\nJane Block, Le N\u00e9o-Imoressionnisme de Seurat \u00e1 Paul Klee, Exh. cat. (R\u00e9union des Mus\u00e9es Nationaux, 2005), ill.14-15, p. 16-21, p. 27-29, p. 32, p. 64, p. 74, p. 76, p. 85, p. 97, p. 108, p. 112, p. 122. \n\nMartha Tedeschi, \u201cStudy of Trees, 1884,\u201d Art Institute of Chicago Museum Studies 26, 1 (2000), pp. 82-83, cat. 36, fig. 29.\n\nRichard Shiff, Jodi Hauptman, Hubert Damisch, and Richard Thomson, \u201cSeurat Distracted,\u201d \u201cMedium and Miasma: Seurat\u2019s Drawings on the Margins of Paris,\u201d \u201cPolka Dots and Moonbeams,\u201d and \u201cThe Imperatives of Style: Seurat\u2019s Drawings,\u201d George Seurat: The Drawings, Exh. cat. (The Museum of Modern Art, New York, 2007), p.18, p. 110, ill. 111, p. 122, p. 123, p. 171. \n\nBasel, Switzerland, Kunstmuseum Basel, Vincent van Gogh- Between Earth and Heaven: The Landscapes, 2009, Fig. 45, p. 82, p. 86.\n\nMary Mathews Gedo, Monet and His Muse: Camille Monet in the Artists Life, Chicago: The University of Chicago Press, 2010. p. 39, p. 58, p. 164. \n\nRichard R. Brettell, Pissarro\u2019s People. New York: Fine Arts Museum of San Francisco, 2011. p. 202, p. 208, p. 217, fig. 154. \n\nHomburg, Cornelia. 2010. \u201cImagining City and Country.\u201d In Vincent Van Gogh: Timeless Country \u2013 Modern City. Exh. cat., pp. 29-30. Skira.\nJean-Michel Nectoux, \u201cJe veux \u00c9crire mon Songe Musical\u2026,\u201d Debussy: La Musique et les Arts. Exh. cat. (Mus\u00e9e d\u2019Orsay, 2012), p. 26. \n\nJennifer A. Thompson, \u201cVan Gogh and Close-up Techniques in 19th-century French Painting,\u201d Van Gogh: Up Close. Exh. cat. (Yale UP, 2012), p. 69. \n\nJoseph J. Rishel, \u201cArcadia 1900,\u201d Gauguin, C\u00e9zanne, Matisse: Visions of Arcadia Exh. cat (Philadelphia Museum of Art, 2012), p. 7, p. 48, p. 50, fig. 49. \n\nMarije Velekoop, Van gogh at Work, exh. cat. (Brussels:Mercatorfonds, 2013), fig. 174.\n\nH\u00e9l\u00e8ne Eisenberg and Fran\u00e7ois Lespinasse, Peintres de la Seine (Rouen : \u00c9ditions des Falaises, 2013), 202 no. 86, 203 (color ill.).\n\nRichard Kendall, Sjraar van Heugten, and Chris Stolwijk, Van Gogh and Nature exh. cat. (New Haven and London: Yale University Press, 2015), 96 fig. 67.\n\nMichelle Foa, Georges Seurat: The Art of Vision (New Haven: Yale University Press, 2015), 63\u201387.\n\nGavin Parkinson, \"Method and Poetry: Georges Seurat's Surrealist Dialectic,\" The Art Bulletin 99, no. 3 (Sept. 2017), pp. 126\u201327, 131\u201333, 145n70, 145n72, fig. 5, fig. 6 (detail).","exhibition_history":"Paris, Maison Dor\u00e9e, 1, rue Laffitte, VIII\u00e8me Exposition de peinture, May 15\u2013June 15, 1886, cat. 175.\n\nParis, Rue des Tuileries, II\u00e8me Exposition de la Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants, August 21\u2013September 21, 1886, cat. 353.\n\nBrussels, Mus\u00e9e de l\u2019Art Modern, IVe exposition annuelle de XX, February, 1887, cat. 1.\n\nParis, Pavillon de la Ville de Paris, VIII\u00e8me Exposition de la Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants, March 19\u2013April 27, 1892, cat. 1082.\n\nParis, 23 Boulevard des Italiens, Exposition de La Revue Blanche, Georges Seurat: Oeuvres peintes et dessin\u00e9es, March 19\u2013April 5, 1900, cat. 17.\n\nParis, Grandes Serres de la Ville de Paris (serre \u201cB\u201d de la Champs de la Reine, Aval-Alma), 21me Exposition de la Soci\u00e9t\u00e9 des Artistes Ind\u00e9pendants. \u00c9xposition R\u00e9trospective Georges Seurat (1859-1891), 1905, cat. 18.\n\nParis, Galeries Bernheim-Jeune et Cie, Georges Seurat (1859-1891), December 14, 1908\u2013January 9, 1909, cat. 58.\n\nParis, Galeries Bernheim-Jeune, Exposition Georges Seurat, January 15\u201331, 1920, cat. 23.\n\nMinneapolis Institute of Arts, Exhibition of Modern French Paintings from the Birch-Bartlett Collection, April\u2013September, 1925, checklist no. 9.\n\nBoston Art Club, Birch-Bartlett Collection of Modern French Paintings, December 9-16, 1925, checklist no. 26.\n\nArt Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, June 1\u2013November 1, 1933, cat. 370.\n\nArt Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, June 1\u2013November 1, 1934, cat. 324.\n\nArt Institute of Chicago, Art of the United Nations, November 16, 1944\u2013January 1, 1945, no cat. no.\n\nArt Institute of Chicago, Seurat: Paintings and Drawings, January 16\u2013March 7, 1958, cat. 101, traveled to New York, The Museum of Modern Art, Seurat: Paintings and Drawings, March 24\u2013May 11, 1958. \n\nArt Institute of Chicago, The Art of the Edge: European Frames 1300-1900, October 17\u2013December 14, 1986, not included in the catalogue.\n\nArt Institute of Chicago, Chicago\u2019s Dream, A World\u2019s Treasure: The Art Institute of Chicago 1893-1993, November 1\u2013January 9, 1994, no cat. no, pl. 21.\n\nArt Institute of Chicago, Seurat and the Making of \u2018La Grande Jatte,\u2019 June 16-September 19, 2004, cat. 80.","provenance_text":"By descent to Mme. Seurat, the artist\u2019s mother (died 1899), Paris, 1891; by descent to Emile Seurat, the artist\u2019s brother; sold for 800 francs to Casimir Br\u00fb, Paris, 1900; given by him to his daughter, Lucie, Paris, 1900; Lucie Br\u00fb Cousturier and Edmond Cousturier, Paris; sold for $20,000 possibly through Charles Vildrac, Paris to Frederic Clay and Helen Birch Bartlett, Chicago, 1924; given to the Art Institute, 1926.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":14,"fiscal_year":1926,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":true,"has_educational_resources":true,"has_advanced_imaging":false,"colorfulness":0,"color":{"h":59,"l":52,"s":12,"percentage":0.002095873918287094,"population":1217},"latitude":41.8795894858483,"longitude":-87.623031400144,"latlon":"41.879589485848,41.879589485848","is_on_view":true,"on_loan_display":null,"gallery_title":"Gallery 240","gallery_id":2147478672,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Painting and Sculpture of Europe","department_id":"PC-10","artist_id":40810,"artist_title":"Georges Seurat","alt_artist_ids":[],"artist_ids":[40810],"artist_titles":["Georges Seurat"],"category_ids":["PC-10","PC-109","PC-831"],"category_titles":["Painting and Sculpture of Europe","Art Institute Icons","Essentials"],"term_titles":["oil on canvas","oil painting","oil paint (paint)","Impressionism","Century of Progress","animals","painting (image making)","Post-Impressionism","painting","european painting","urban life","weather\/seasons","leisure","men","women","children","circles","landscapes","water","world's fairs","Chicago World's Fairs"],"style_id":"TM-7543","style_title":"Impressionism","alt_style_ids":["TM-7547"],"style_ids":["TM-7543","TM-7547"],"style_titles":["Impressionism","Post-Impressionism"],"classification_id":"TM-66","classification_title":"oil on canvas","alt_classification_ids":["TM-9","TM-54"],"classification_ids":["TM-66","TM-9","TM-54"],"classification_titles":["oil on canvas","painting","european painting"],"subject_id":"TM-12169","alt_subject_ids":["TM-12218","TM-10126","TM-10095","TM-10094","TM-10121","TM-8735","TM-10118","TM-8803","TM-8657","TM-8681","TM-11299","TM-12176"],"subject_ids":["TM-12169","TM-12218","TM-10126","TM-10095","TM-10094","TM-10121","TM-8735","TM-10118","TM-8803","TM-8657","TM-8681","TM-11299","TM-12176"],"subject_titles":["Century of Progress","animals","urban life","weather\/seasons","leisure","men","women","children","circles","landscapes","water","world's fairs","Chicago World's Fairs"],"material_id":"TM-2451","alt_material_ids":[],"material_ids":["TM-2451"],"material_titles":["oil paint (paint)"],"technique_id":"TM-4273","alt_technique_ids":["TM-3891"],"technique_ids":["TM-4273","TM-3891"],"technique_titles":["oil painting","painting (image making)"],"theme_titles":["Art Institute Icons","Essentials"],"image_id":"2d484387-2509-5e8e-2c43-22f9981972eb","alt_image_ids":["6782523e-056b-ba22-69f9-b5f1b59efcb6"],"document_ids":["d9683532-66fd-67c3-5588-021527d115af","cd612b0c-3dfd-e213-3927-010b375c77a6"],"sound_ids":["d9683532-66fd-67c3-5588-021527d115af","cd612b0c-3dfd-e213-3927-010b375c77a6"],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[22],"suggest_autocomplete_boosted":"A Sunday on La Grande Jatte \u2014 1884","suggest_autocomplete_all":[{"input":["1926.224"],"contexts":{"groupings":["accession"]}},{"input":["A Sunday on La Grande Jatte \u2014 1884"],"weight":975461,"contexts":{"groupings":["title"]}}],"source_updated_at":"2024-01-05T14:02:46-06:00","updated_at":"2024-03-27T23:29:25-05:00","timestamp":"2024-03-28T06:08:29-05:00"},"info":{"license_text":"The `description` field in this response is licensed under a Creative Commons Attribution 4.0 Generic License (CC-By) and the Terms and Conditions of artic.edu. All other data in this response is licensed under a Creative Commons Zero (CC0) 1.0 designation and the Terms and Conditions of artic.edu.","license_links":["https:\/\/creativecommons.org\/publicdomain\/zero\/1.0\/","https:\/\/www.artic.edu\/terms"],"version":"1.10"},"config":{"iiif_url":"https:\/\/www.artic.edu\/iiif\/2","website_url":"http:\/\/www.artic.edu"}}