Rothko’s wall paintings present themselves as giant and rather fuzzy doors, inviting the viewer to enter a mysterious world of colors: from dark brown to black, from red to purple.

The relationship with the wine is not accidental. These murals were intended to be hung on the walls of the Four Seasons restaurant in New York, at the Seagram Building in Park Avenue.

The idea that Rothko developed from the first lighter and more delicate attempts, was to create great paintings with abstract subjects, giving an idea of important architecture and frescoes.

Imperial red, wine, large dimensions. All this takes us to Pompeii, the Villa of the Mysteries, which depicts the celebration of the cult of Dionysus on Pompeian red a background. Or the pages of Nietzsche’s “The Birth of Tragedy, where Dionysian is related to the naked reality.

There are reminescences of the vestibule of the Laurentian Library in Florence, where Rothko was fascinated by the blind windows.

The Seagram Murals by Mark Rothko never arrived at the Four Seasons.

After several changes of location, they ended up at the third floor of the Tate Modern in London and became part of a permanent exhibition called “Transformed Visions”. The latter is an analysis of the form of abstraction that artists forged after World War II.

This wing of the museum shows the constant presence of the human figure, but also explores the responses of the artist to the violence of war and the tendency to contemplation. An entire room is devoted Rothko’s work, a space pervaded by red wine which strikes the curiosity of the viewers and invites them to push the boundaries of undefined color lines suggesting a passage to another world.