Dimanche après-midi presents multiple portraits of Fini intertwined with her cats, with all of the figures placed on shelves as though they could be dolls and ornaments. As such the work suggests that mysterious qualities of femininity often lead wrongly to objectification. Aside from this explanation, the work also depicts the joy of a 'Sunday Afternoon', and confirms Fini's love and devotion towards her feline companions. She treated her own cats like human beings and identified with them to such a degree, that she herself became in part, a cat.
This is a version of Fini's favorite painting which travelled with her from Paris to St. Dye every year.