In 1887, Vincent van Gogh’s artistic evolution continued to accelerate, fueled by his experiences in Paris and his deepening engagement with the avant-garde art movements of the time. This year was marked by experimentation, collaboration, and a significant shift in his style, as he embraced new techniques and themes that would define his later masterpieces. One of the most important developments in van Gogh’s work in 1887 was his adoption of a brighter and more varied color palette. Influenced by the Impressionists and Post-Impressionists he encountered in Paris, van Gogh began to move away from the darker, more somber tones of his earlier work. He started to use bold, vibrant colors, often applying them in thick, expressive brushstrokes. This shift is particularly evident in his series of Self-Portraits from 1887, such as Self-Portrait with Straw Hat, where he used a mix of complementary colors and dynamic brushwork to create a striking, almost luminous effect. These self-portraits are not only explorations of his appearance but also reflections of his psychological state, showcasing his growing confidence and his search for a distinct artistic identity (Encyclopedia Britannica) (Van Gogh Biography). In addition to his self-portraits, van Gogh produced a number of important still lifes in 1887. These works reflect his interest in color theory and his experimentation with different techniques. For example, in his Still Life with Plaster Statuette, a Rose, and Two Novels (1887), van Gogh employed contrasting colors to create a vibrant composition that draws the viewer's eye across the canvas. His still lifes from this period also show the influence of Japanese woodblock prints, which were popular among Parisian artists at the time. Van Gogh admired the simplicity and boldness of these prints and incorporated similar elements into his own work, such as flat areas of color, strong outlines, and an emphasis on decorative patterns (The Metropolitan Museum of Art). During this year, van Gogh also became more involved with the Parisian art community, forging important relationships with other artists. He developed close friendships with fellow painters like Paul Signac and Emile Bernard, who introduced him to the techniques of Pointillism and Divisionism. Van Gogh experimented with these techniques, using small dots or strokes of color to build up an image, as seen in works like Self-Portrait with Grey Felt Hat (1887). While he ultimately did not fully adopt Pointillism, the influence of these techniques can be seen in his more textured and color-focused approach to painting during this period (Van Gogh Biography). Van Gogh’s urban landscapes from 1887 also reflect his engagement with the modern city of Paris. He painted scenes of the city’s streets, cafes, and the surrounding countryside, capturing the vibrancy and dynamism of urban life. In works like View of Paris from Montmartre (1887), van Gogh depicted the cityscape with a new sense of light and color, using a brighter palette and more expressive brushwork than in his earlier landscapes. These works demonstrate his ability to blend the influences of Impressionism and Post-Impressionism with his unique vision, creating compositions that are both realistic and emotionally charged (Encyclopedia Britannica). By the end of 1887, van Gogh had undergone a significant transformation as an artist. His work from this year reflects his growing mastery of color and form, as well as his willingness to experiment with new techniques and ideas. The progress he made during 1887 laid the groundwork for the highly expressive and innovative works he would create in the following years, particularly during his time in the south of France. Van Gogh’s art from this period is a testament to his relentless pursuit of artistic growth and his deepening understanding of the emotional power of color and composition (Encyclopedia Britannica) (The Metropolitan Museum of Art) (Van Gogh Biography).