In another series from this period, Rothko used a softer range of pink and blue for compositions
that sometimes recall smaller works from the mid-1940s. A certain ascetic quality suggests that
Rothko had embarked on a new direction, one which may have been related to the reductive work of
younger artists at that time. Unlike the minimalists, however, Rothko never abandoned his conviction
in the ability of abstract art to be experienced in emotionally expressive terms.