Georges Seurat, 1886 - Gray Weather, Grande Jatte - fine art print

Description of the over 130 years old artpiece

In the year 1886 Georges Seurat created the pointilist masterpiece. The original measures the size: 27 3/4 x 34 in (70,5 x 86,4 cm). Oil on canvas was used by the European artist as the medium of the artwork. Nowadays, the piece of art forms part of the The Metropolitan Museum of Art's art collection. The modern art public domain artwork is being provided with courtesy of The Metropolitan Museum of Art, New York, The Walter H. and Leonore Annenberg Collection, Gift of Walter H. and Leonore Annenberg, 2002, Bequest of Walter H. Annenberg, 2002. : The Walter H. and Leonore Annenberg Collection, Gift of Walter H. and Leonore Annenberg, 2002, Bequest of Walter H. Annenberg, 2002. Furthermore, alignment is in landscape format and has a ratio of 1.2 : 1, meaning that the length is 20% longer than the width. The painter, drawer Georges Seurat was a European artist from France, whose style can primarily be classified as Pointillism. The Pointilist artist lived for a total of 32 years and was born in the year 1859 in Paris, Ile-de-France, France and deceased in 1891 in Paris, Ile-de-France, France.

Choose your material

In the dropdown selection right next to the product offering you can select the size and materialaccording to your personal preferences. Choose among the following product options now to match your preferences in size and material:

• Aluminium dibond print: Aluminium Dibond prints are metal prints with a true depth effect. Its non-reflective surface structure make a contemporary look. The bright and white sections of the work of art shine with a silk gloss but without the glow. Colors are bright and luminous in the highest definition, the details appear clear and crisp, and you can perceive a matte appearance of the print.
• Acrylic glass print (with real glass coating): The acrylic glass print, which is often described as a UV print on plexiglass, will turn your favorite original into wonderful décor. Your own version of the artwork will be made with the help of modern UV print technology. This has the impression of intense, stunning colors. The plexiglass protects your custom art replica against sunlight and heat for up to 60 years.
• Printed poster (canvas material): Our poster print is a UV printed canvas with a fine surface structure. Please keep in mind, that depending on the size of the poster we add a white margin of something between 2-6cm round about the print, which facilitates the framing with your custom frame.
• The canvas print: The printed canvas, not to be mistaken with a real canvas painting, is a digital copy printed on a canvas fabric. Canvas prints are relatively low in weight, meaning that it is quite simple to hang up your Canvas print without the support of any wall-mounts. A canvas print is suited for all kinds of walls.

Important information: We try the best we can to depict our products with as many details as possible and to showcase them visually. Nonetheless, the pigments of the print products and the imprint may diverge marginally from the presentation on your monitor. Depending on your settings of your screen and the condition of the surface, not all colors can be printed as exactly as the digital version on this website. Bearing in mind that all the art reproductions are printed and processed by hand, there might also be slight differences in the size and exact position of the motif.

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Artwork details

Background information about the artist

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Additional specifications as provided by the museum's website (© - by The Metropolitan Museum of Art - The Metropolitan Museum of Art)

This view extends from the island of La Grande Jatte, framed by trees, to the red-roofed houses of the Paris suburb of either Asnières or Courbevoie across the Seine. Seurat had earlier celebrated this stretch of the river with his ambitious compositions Bathers at Asnières (1883–84, National Gallery, London) and A Sunday on La Grande Jatte (1884–86, Art Institute of Chicago). Here he sought "to transcribe most exactly the vivid outdoor clarity [of nature] in all its nuances" using a technique known as Divisionism (also called Pointillism). The painted border was added shortly before the picture was first exhibited in 1889.