the present time. The artists chosen to be part of the modern and contemporary art collection are chosen for merit and their contributions to the world of art. In the late 1950s Lundquist's fellow artist and supporter Cliff Holden, who had long believed that Lundquist was one of only two artists who could legitimately represent Sweden internationally, began a campaign to encourage the Tate to accept Lundquist's work into its collection. Woman in Red, a work from the collection of Nils Tesch, was accepted into the collection. Previous to this acquisition, the only other Swedish painter to be collected by the Tate was Edvard Munch. The work titled Woman in Red has been part of the Tate collection since that time. Interpretations of Lundquist's style & artworks Lundquist's recognition as a significant artist did not come quickly or precisely. He had traveled often and extensively and found himself in the midst of a world war (the second of his life), and his painting style would transverse a number of artistic styles. After 1940, Lundquist would develop a stylistic form for which he would become very well known, though he would continue to innovate. Noted art historian and former Director of Collections at the Tate Modern, Jeremy Lewison, notes that the mature style of Lundquist has distinct qualities. The motif is not painted directly on the surface nor is it under the surface. The motif is "within [...] paint and form are one". Lundquist's experiments preceded the similar experimentation of artists Auerbach, Kossoff and Hodgkin who also went on to artistic acclaim. Lundquist's method seems to have allowed the paint a certain freedom to suggest the initial form. Once the work developed, the final and generally delicate last layer of paint would function to save the work from any "potential chaos." The final work was neither a full abstraction nor a figuration when finished. In a sense, Lundquist had bridged the conflict between those who favored abstraction and those who felt as strongly against it. This concept was similar to Pierre Bonnard's work in which his desire to create a full abstraction was tempered by the desire to create a subject. The strong identification the viewer would normally have toward the subject is lessened, as the subject "has been translated into formal terms." Art critic/commentator Peter Cornell noted that unlike Bonnard, Lundquist was not trying to present the pleasantries of life.