Ein Sonntagnachmittag auf der Insel La Grande Jatte Analyse

• Jules Christophe, Georges Seurat (Paris, 1890).
• Gustave Kahn, “Seurat,” L’Art Moderne 11 (April 5, 1891), pp. 107-10.
• Henry van de Velde, “Georges Seurat,” La Wallonie 6 (March/April 1891), pp. 167-71.
• Emile Verhaeren, “Mort de Georges Seurat,” La Nation (April 1, 1891).
• Emile Verhaeren, “Georges Seurat,” La Société nouvelle (April 30, 1891), pp. 430-38.
• Téodor de Wyzewa, “Georges Seurat,” L’Art dans les Deux Mondes 22 (April 18, 1891), pp. 263-64.
• Jules Christophe, “Seurat,” La Plume (September 1, 1891).
• Paul Signac, D’Eugène Delacroix au néo-impressionnisme (Paris, 1899).
• Emile Verhaeren, “Georges Seurat,” L’Art Moderne 15, 13 (April 1, 1900), p. 104.
• Thadée Natanson, “Un Primitif d’aujourd’hui: Georges Seurat,” La Revue Blanche 21 (April 1900), pp. 610-14.
• Emile Verhaeren, “Notes: Georges Seurat,” La Nouvelle Revue Française 1 (February 1, 1909), p. 92.
• Roger Fry, “The Post-Impressionsists,” in Manet and the Post-Impressionists, exh. cat. (Grafton Galleries, London, 1910-11), pp. 8-9.
• Lucie Cousturier, “Georges Seurat,” L’Art Décoratif 27 (20 June 1912), pp. 357-72.
• Elie Faure, Les Constructeurs (Paris, 1914).
• Félix Féneon, “Georges Seurat,” Bulletin de la Vie Artistique 7 (14 May 1914); reprinted in Félix Fénéon, Oeuvres plus que complètes, ed. Joan Halperin (Geneva, 1970), pp. 293-94.
• Roger Bissière, “Notes sur l’art de Seurat,” L’Esprit Nouveau 1 (Oct. 1920), pp. 13-28.
• André Salmon, “Georges Seurat,” The Burlington Magazine 37 (September 1920), pp. 115-22.
• Roger Fry, “Retrospect” in Vision and Design (London, 1920), pp. 188-199.
• Lucie Cousturier, Seurat (Paris, 1921), p. 17, pl. 11.
• J. Carré. “Le Grand Art. Georges Seurat,” La Vie (September 1, 1922).
• André Salmon, Propos d’atelier (Paris, 1922).
• André Lhote, Georges Seurat (Rome, 1922), pl. 4.
• André Lhote, “Seurat” in Parlons peinture, 1922; reprinted in Ecrits sur la peinture (Brussels, 1946).
• Walter Pach, “Georges Seurat (1853-1891),” The Arts 3 (March 1923), pp. 160-74.
• Walter Pach, Georges Seurat (New York, 1923), pl. 6.
• Gustave Coquiot, Seurat (Paris, 1924), pp. 214-19, ill. opp. p. 216, 247.
• Félix Fénéon, “Précisions concernant Seurat,” Bulletin de la Vie Artistique (15 August 1924); reprinted in Félix Fénéon, Oeuvres plus que complètes, ed. Joan Halperin (Geneva, 1970), pp. 467-68.
• Exhibition of Paintings and Drawings by Georges Seurat, foreward by Walter Pach (New York, Brummer Galleries, 1924).
• Guy Eglinton, “The Theory of Seurat,” International Studio 81 (May 1925), pp. 113-17.
• Félix Fénéon, “Georges Seurat und die oeffentliche Meinung,” Der Querschnitt 6 (October 1926), pp. 767-70.
• Roger Fry, “Georges Seurat,” 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.
• Amédée Ozenfant, “Seurat,” Cahiers d’Art 7 (September 1926), p. 172.
• Florent Fels, “La Peinture française aux XIXe et Xxe siècles, Seurat,” A.B.C. Magazine d’Art (1927), pp. 282-87.
• André Lhote, “Expositions Seurat et Roger de la Fresnaye,” (1927); reprinted in La Peinture, Le Coeur et l’Esprit (Paris, 1933).
• Claude Roger-Marx, “Georges Seurat,” Gazette des Beaux-Arts (December 1927), pp. 311-18.
• Christian Zervos, “Un Dimanche à la Grande Jatte et la technique de Seurat,” Cahiers d’Art 9 (1928), pp. 361-75.
• Alfred Barr, The Museum of Modern Art First Loan Exhibition New York November 1929; Cézanne, Gauguin, Seurat, Van Gogh, exh. cat. (Museum of Modern Art, New York 1929), pp. 23-27.
• Robert Rey, “Seurat,” in La Peinture française à la fin du XIXe siècle, La Renaissance du Sentiment Classique, Degas, Renoir, Gauguin, Cézanne, Seurat (Paris, 1931), pp. 95-134.
• B.E. Werner, “Georges Seurat,” Die Kunst 65 (February 1932), pp. 147-52.
• F. Walter, “Du Paysage Classique au surréalisme: Seurat,” Revue de l’Art Ancien et Moderne 63 (April 1933), pp. 165-76.
• P. Signac, “Les étapes de la peinture contemporaine: Georges Seurat,” Beaux-Arts (December 15, 1933), p. 1.
• Lévy-Gutmann, “Seurat et ses amis,” Art et Décoration 63 (Jan. 1934), pp. 36-37.
• Paul Signac, “Le néo-impressionisme,” Gazette des Beaux-Arts 11 (January 1934), pp. 49-59.
• Daniel Catton Rich, Seurat and the Evolution of “La Grande Jatte” (Chicago, 1935).
• Meyer Schapiro, “Seurat and “La Grande Jatte”,” The Columbia Review 17 (November 1935), pp. 9-16.
• A. Watt, “Art of Georges Seurat,” Apollo 23 (March 1936), pp. 168-69.
• J. Hélion, “Seurat as a predecessor,” The Burlington Magazine 69 (July 1936), pp. 4-14.
• Paul Signac, “The Neo-Impressionist Movement,” in Seurat and his Contemporaries, exh. cat. (London, Wildenstein, 1937).
• Georges Duthuit, “Seurat’s System,” The Listener 17, 421 (February 3, 1937), pp. 210-11.
• D. Goldring, “London Art News: Seurat and His Contemporaries,” London Studio 13 (April 1937), p. 219.
• “Seurat,” Apollo 32 (July 1940), pp. 11-12.
• R. J. Goldwater, “Some Aspects of the Development of Seurat’s Style,” Art Bulletin 23 (June 1941), pp. 117-30.
• Lionello Venturi, “The Art of Seurat,” Gazette des Beaux-Arts (July-Dec. 1944), pp. 421-30.
• John Rewald, Georges Seurat (New York, 1946).
• Georges Duthuit, “Georges Seurat, Voyant et physicien,” Labyrinthe [Geneva] (December 1946).
• Germain Seligman, The Drawings of Georges Seurat (New York, 1947).
• André Lhote, Seurat (Paris, 1948).
• André Lhote, “Le classicisme de Seurat; excerpts,” Arts (June 18, 1948), p. 2.
• Thadée Natanson, “L’Ecole de Seurat,” in Peints à leur tour (Paris, 1948), pp. 121-29.
• John Rewald, “Seurat: the meaning of the dots,” Art News 48 (April 1949), pp. 24-27, 61-63.
• Umbro Apollonio, “Disegni di Georges Seurat,” in XXV Biennale di Venezia, Catalogo (Venice, 1950), pp. 175-79.
• “Sunday at the Grande Jatte,” Life 31 (July 23, 1951), pp. 60-64.
• “Pointillism with Paint and Camera,” Design 53 (March 1952), p. 141.
• “Chicago’s Fabulous Collectors” Art Institute Announces it will Get Treasures from their Homes,” Life Magazine (October 27, 1952): 90.
• John Rewald, “Seurat and His Friends,” in Seurat and His Friends, exh. cat. (New York, Wildenstein, 1953).
• Terence Mullaly, “Pointillists,” Apollo 63 (June 1956), pp. 185-89.
• D.C. Rich, ed., Seurat Paintings and Drawings, exh. cat. (Chicago, 1958).
• D. C. Rich, “Place of Seurat,” Art Institute Quarterly 52 (February 1958), pp. 1-5.
• L. Katz, “Seurat: Allegory and Image,” Arts 32 (April 1958), pp. 40-47.
• Meyer Schapiro, “New Light on Seurat,” Art News 57 (April 1958), pp. 22-24, 44-45, 52.
• J. O. Kerr, “Seurat: the Silent Post-Impressionist,” Studio 155 (May 1958), pp. 129-33.
• Robert L. Herbert, “Seurat in Chicago and New York,” The Burlington Magazine 100 (May 1958), pp. 146-155.
• Robert L. Herbert, “Seurat and Jules Chéret,” Art Bulletin 40 (June 1958), pp. 156-58.
• William I. Homer, “Seurat’s formative period: 1880-1884,” Connoisseur 142 (September 1958), pp. 58-62.
• Henri Dorra and John Rewald, Seurat (Paris, 1959), no. 139 (ill.).
• Robert L. Herbert, “Seurat and Puvis de Chavannes,” Yale University Art Gallery Bulletin 25 (October 1959), pp. 22-29.
• Robert L. Herbert, “Seurat and Emile Verhaeren: Unpublished Letters,” Gazette des Beaux-Arts 54 (December 1959), pp. 315-28.
• César M. De Hauke, Seurat et son oeuvre 2 vol. (Paris, 1961), no. 162.
• John Russell, Seurat (London, 1965).
• John House, “Meaning in Seurat’s Figure Painting,”Art History 3, 3 (September 1980), pp. 345-56.
• Richard Thomson, “ ‘Les Quat’ Pattes’: The Image of the Dog in Late Nineteenth-Century French Art,” Art History 5 (September 1982), pp. 331-37.
• Jeroen Stumpel, “The Grande Jatte, that patient tapestry,” Simiolus 14 (1984), pp. 209-24.
• Richard Thomson, Seurat (Oxford, 1985), pp. 97-126.
• Richard R. Brettell, “The Bartletts and the ‘Grande Jatte:’ Collecting Modern Painting in the 1920s,” Art Institute of Chicago Museum Studies 12, 2 (1986), pp. 103-113 (ill.).
• Alan Lee, “Seurat and Science,” Art History 10 (June 1987), pp. 203-26.
• S. Hollis Clayson, “The Family and the Father: The Grande Jatte and its Absences,”
• The Art Institute of Chicago Museum Studies 14, 2 (1989), pp. 155-72.
• Stephen F. Eisenman, “Seeing Seurat Politically,” The Art Institute of Chicago Museum Studies 14, 2 (1989), pp. 211-21.
• Mary Mathews Gedo, “The Grande Jatte as the Icon of a New Religion: A Psycho-Iconographic Interpretation,” The Art Institute of Chicago Museum Studies 14, 2 (1989), pp. 223-37.
• John House, “Reading the Grande Jatte, ” The Art Institute of Chicago Museum Studies 14, 2 (1989), pp. 115-31.
• Linda Nochlin, “Seurat’s Grande Jatte: An Anti-Utopian Allegory,” The Art Institute of Chicago Museum Studies 14, 2 (1989), pp. 133-53.
• Richard Thomson, “The Grande Jatte: Notes on Drawing and Meaning,” The Art Institute of Chicago Museum Studies 14, 2 (1989), pp. 181-97.
• Michael Zimmerman, “Seurat, Charles Blanc, and Naturalist Art Criticism,” The Art Institute of Chicago Museum Studies 14, 2 (1989), pp. 199-209.
• Jean Claude Lebensztejn, Chahut (Paris, 1989).
• Natasha Staller, “Babel: Hermetic Languages, Universal Languages, and Anti-Languages in fin de siècle Parisian Culture,” Art Bulletin 76 (June 1994), pp. 331-54.
• Fritz Novotny, Painting and Sculpture in Europe, 1780-1880 (New Haven, 1995), p. 370.
• Paul Smith, Seurat and the Avant-Garde (New Haven, 1997).
• Suzanne Folds McCullagh, “‘A Lasting Monument’: The Regenstein Collection at the Art Institute of Chicago,” Art Institute of Chicago Museum Studies 26, 1 (2000), p. 13.
• Jane Block, Le Néo-Imoressionnisme de Seurat á Paul Klee, Exh. cat. (Réunion des Musées 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.
• Martha Tedeschi, “Study of Trees, 1884,” Art Institute of Chicago Museum Studies 26, 1 (2000), pp. 82-83, cat. 36, fig. 29.
• Richard Shiff, Jodi Hauptman, Hubert Damisch, and Richard Thomson, “Seurat Distracted,” “Medium and Miasma: Seurat’s Drawings on the Margins of Paris,” “Polka Dots and Moonbeams,” and “The Imperatives of Style: Seurat’s Drawings,” 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.
• Basel, Switzerland, Kunstmuseum Basel, Vincent van Gogh- Between Earth and Heaven: The Landscapes, 2009, Fig. 45, p. 82, p. 86.
• Mary 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.
• Richard R. Brettell, Pissarro’s People. New York: Fine Arts Museum of San Francisco, 2011. p. 202, p. 208, p. 217, fig. 154.
• Homburg, Cornelia. 2010. “Imagining City and Country.” In Vincent Van Gogh: Timeless Country – Modern City. Exh. cat., pp. 29-30. Skira.
• Jean-Michel Nectoux, “Je veux Écrire mon Songe Musical…,” Debussy: La Musique et les Arts. Exh. cat. (Musée d’Orsay, 2012), p. 26.
• Jennifer A. Thompson, “Van Gogh and Close-up Techniques in 19th-century French Painting,” Van Gogh: Up Close. Exh. cat. (Yale UP, 2012), p. 69.
• Joseph J. Rishel, “Arcadia 1900,” Gauguin, Cézanne, Matisse: Visions of Arcadia Exh. cat (Philadelphia Museum of Art, 2012), p. 7, p. 48, p. 50, fig. 49.
• Marije Velekoop, Van gogh at Work, exh. cat. (Brussels:Mercatorfonds, 2013), fig. 174.
• Richard Kendall, Sjraar van Heugten, and Chris Stolwijk, Van Gogh and Nature exh. cat. (New Haven and London: Yale University Press, 2015), 96 fig. 67.
• Michelle Foa, Georges Seurat: The Art of Vision (New Haven: Yale University Press, 2015), 63–87.
• Gavin Parkinson, “Method and Poetry: Georges Seurat’s Surrealist Dialectic,” The Art Bulletin 99, no. 3 (Sept. 2017), pp. 126–27, 131–33, 145n70, 145n72, fig. 5, fig. 6 (detail).

• Paris, Maison Dorée, 1, rue Laffitte, VIIIème Exposition de peinture, May 15–June 15, 1886, cat. 175.
• Paris, Rue des Tuileries, IIème Exposition de la Société des Artistes Indépendants, August 21–September 21, 1886, cat. 353.
• Brussels, Musée de l’Art Modern, IVe exposition annuelle de XX, February, 1887, cat. 1.
• Paris, Pavillon de la Ville de Paris, VIIIème Exposition de la Société des Artistes Indépendants, March 19–April 27, 1892, cat. 1082.
• Paris, 23 Boulevard des Italiens, Exposition de La Revue Blanche, Georges Seurat: Oeuvres peintes et dessinées, March 19–April 5, 1900, cat. 17.
• Paris, Grandes Serres de la Ville de Paris (serre “B” de la Champs de la Reine, Aval-Alma), 21me Exposition de la Société des Artistes Indépendants. Éxposition Rétrospective Georges Seurat (1859-1891), 1905, cat. 18.
• Paris, Galeries Bernheim-Jeune et Cie, Georges Seurat (1859-1891), December 14, 1908–January 9, 1909, cat. 58.
• Paris, Galeries Bernheim-Jeune, Exposition Georges Seurat, January 15–31, 1920, cat. 23.
• Minneapolis Institute of Arts, Exhibition of Modern French Paintings from the Birch-Bartlett Collection, April–September, 1925, checklist no. 9.
• Boston Art Club, Birch-Bartlett Collection of Modern French Paintings, December 9-16, 1925, checklist no. 26.
• Art Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, June 1–November 1, 1933, cat. 370.
• Art Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, June 1–November 1, 1934, cat. 324.
• Art Institute of Chicago, Art of the United Nations, November 16, 1944–January 1, 1945, no cat. no.
• Art Institute of Chicago, Seurat: Paintings and Drawings, January 16–March 7, 1958, cat. 101, traveled to New York, The Museum of Modern Art, Seurat: Paintings and Drawings, March 24–May 11, 1958.
• Art Institute of Chicago, The Art of the Edge: European Frames 1300-1900, October 17–December 14, 1986, not included in the catalogue.
• Art Institute of Chicago, Chicago’s Dream, A World’s Treasure: The Art Institute of Chicago 1893-1993, November 1–January 9, 1994, no cat. no, pl. 21.
• Art Institute of Chicago, Seurat and the Making of ‘La Grande Jatte,’ June 16-September 19, 2004, cat. 80.

By descent to Mme. Seurat, the artist’s mother (died 1899), Paris, 1891; by descent to Emile Seurat, the artist’s brother; sold for 800 francs to Casimir Brû, Paris, 1900; given by him to his daughter, Lucie, Paris, 1900; Lucie Brû 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.