"Well, I interpreted them [the late 'gray' paintings of Rothko] differently from his self-image right then and there. We argued about the significance of his paintings because he felt that they had a certain sense of foreboding and so on, and I didn't feel that at all. I felt they were very involved with comfort and luxury and they looked very natural in Jeanne Reynal's luxurious house, and people looked very well against them. They made a wonderful graceful decor, all of which was anathema to Rothko. I think in his very last paintings that he had down at the Rice Institute that there he got what he was talking about to me in the early '50s, but I don't think he had it then. I think when he got away from the pretty colors, beautiful colors and he got into those mysterious blacks and nameless deep, dark colors, that then the paintings did have this sense of foreboding. And I think they're his most magnificent paintings [in the Rothko Chapel....But those big black paintings, they took me by surprise. ...I was tremendously impressed. I found them very grand and the scale of them, the size, it was just quite amazing."