Four seasons, four color families, four emotional territories.

Each painting is a circle composed of three colors chosen for their emotional meaning — the specific warmth of summer, the particular stillness of winter, the way autumn feels different from any other kind of sadness. The color names sit beside each painting, not as instruction, but as quiet context for what the eye is already sensing.

The book closes with a fifth chapter where seasons combine — spring meeting winter, summer meeting autumn — and the emotions combine too.

For those who find themselves pausing at the window when the light changes. Who already know that a Tuesday in October feels nothing like a Tuesday in April, and have always wanted a language for why.