Question: When was Seurat's "Bathers at Asnières" completed?
About the article "A Sunday Afternoon on the Island of La Grande Jatte", section "Interpretation".

Candidate passages:
Seurat's "Bathers" preceded "A Sunday Afternoon on the Island of La Grande Jatte", which shows people on the bank of the other side of the river.
While the bathers at Asnieres on the left bank are working class people, it is the bourgeoisie who are on the right bank.
The bathers are cast in light, while on the "Grande Jatte" almost everyone is in shadows, and there are allusions to lust (a woman with a monkey on a leash) and prostitution (a woman "fishing").
Seurat's message has been interpreted as implying that the working class represented the future, while the middle classes had grown decrepit and ridden with vice.
Seen this light and context, the boy who bathes on the other side of the river bank at Asnières appears to be calling out to them, as if to say "we are the future, come and join us". 
He spent 1883 working on his first major painting—a huge canvas titled "Bathers at Asnières", a monumental work showing young men relaxing by the Seine in a working-class suburb of Paris.
Although influenced in its use of color and light tone by Impressionism, the painting with its smooth, simplified textures and carefully outlined, rather sculptural figures, shows the continuing impact of his neoclassical training; the critic Paul Alexis described it as a "faux Puvis de Chavannes".
Seurat also departed from the Impressionist ideal by preparing for the work with a number of drawings and oil sketches before starting on the canvas in his studio.
"Bathers at Asnières" was rejected by the Paris Salon, and instead he showed it at the Groupe des Artistes Indépendants in May 1884.
Soon, however, disillusioned by the poor organisation of the Indépendants, Seurat and some other artists he had met through the group – including Charles Angrand, Henri-Edmond Cross, Albert Dubois-Pillet and Paul Signac – set up a new organisation, the Société des Artistes Indépendants.
Seurat's new ideas on pointillism were to have an especially strong influence on Signac, who subsequently painted in the same idiom. 
Bathers at Asnières () is an oil-on-canvas painting by the French artist Georges Pierre Seurat, the first of his two masterpieces on the monumental scale.
The canvas is of a suburban, but placid Parisian riverside scene.
Isolated figures, with their clothes piled sculpturally on the riverbank, together with trees, austere boundary walls and buildings, and the River Seine are presented in a formal layout.
A combination of complex brushstroke techniques, and a meticulous application of contemporary colour theory bring to the composition a sense of gentle vibrancy and timelessness.
Seurat completed the painting of "Bathers at Asnières" in 1884, when he was twenty-four years old.
He applied to the jury of the Salon of the same year to have the work exhibited there, but the jury rejected it.
The "Bathers" continued to puzzle many of Seurat’s contemporaries, and the picture was not widely acclaimed until many years after the death of the artist at the age of just thirty-one.
An appreciation of the painting’s merits grew during the twentieth century, and today it hangs in the National Gallery, London, where it is considered one of the highlights of the gallery’s collection of paintings. 
Seurat's painting was a mirror of "Bathers at Asnières", completed shortly before in 1884.
While the bathers are doused in light, almost every figure on "La Grande Jatte" appears to be cast in shadow, either under trees or an umbrella, or from another person.
Some of the characters are doing curious things.
The lady on the right hand side has a monkey on a leash.
A lady on the left near the river bank is fishing.
The area was known at the time as being a place to procure prostitutes among the bourgeousie, a likely allusion of the otherwise odd "fishing" rod.
In the painting's center stands a little girl dressed in white (who is not in a shadow), who stares directly at the viewer of the painting.
This may be interpreted as someone who is silently questioning the audience, "what will become of these people, and their class?"
Seurat paints their prospects bleakly, cloaked as they are in shadow and suspicion of sin.
The border of the painting is, unusually, in inverted color, as if the world around them is also slowly inverting from the way of life they have known.
Seen in this context, the boy who bathes on the other side of the river bank at Asnières appears to be calling out to them, as if to say "we are the future, come and join us".
Matila Ghyka and others contend that Georges Seurat used golden ratio proportions in paintings like "La Parade", "Le Pont de Courbevoie" and "Bathers at Asnières".
However, there is no direct evidence to support these claims.