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Michael Lobel@mlobelart.bsky.social |
While the final full chapter, “Color,” discusses how artificial pigments, including many made from the industrial byproduct coal tar, transformed the broader chromatic world - along with Van Gogh’s palette - in the 19th century
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Michael Lobel
@mlobelart.bsky.social
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The book ends on a contemporary note with the work of Latoya Ruby Frazier, now featured in an exhibition at the Museum of Modern Art, who referenced Van Gogh in photographs she made while in residence in the very same Belgian coal mining region Van Gogh had visited more than a century earlier
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