As he worked on the commission Rothko’s conception of the scheme became more and more sombre and he abandoned the first series as being too light in mood. He then adopted a palette of black on maroon and dark red on maroon, and compositional structures of open, rectangular, window-like forms, rather than his usual arrangement of uniform rectangular patches, used for the first series. He later said ‘After I had been at work for some time I realised that I was much influenced subconsciously by Michelangelo’s walls in the staircase room of the Medicean Library in Florence. He achieved just the kind of feeling I’m after …’ The reference is to the motif of heavily pedimented blank stone windows set in the white walls of the ante-room of the Laurentian Library, which together with other architectural effects created there by Michelangelo, create an atmosphere noted for its oppressive, almost frightening, grandeur.

In the end Rothko decided to withhold his murals from installation in the Four Seasons, his reported reason being that he did not wish his pictures to be a background to the eating of the privileged. Clearly, in any case, he had created a series of paintings whose particularly solemn and meditative character ill-suited a fashionable restaurant. It was these paintings, seen in Rothko’s studio in 1960 by John and Dominique de Menu, that prompted these art lovers to commission Rothko to decorate a chapel that they would build in Houston, Texas. The project, described by Rothko as the most important of his life, was completed just before his death in 1970. In 1965, influenced by the idea that his pictures would be in the same building as Turner, Rothko suggested making a gift to the Tate Gallery. The works would be from the Four Seasons series and would be chosen by the artist to form a coherent group, to be shown in a space on their own. The gift was finalised in 1969 and the paintings arrived in 1970. On the day of their arrival, as the huge crates were being unpacked to reveal their contents, a cable was received from New York announcing that Rothko had been found dead in his studio.