him for such moments. However to the public, Lundquist was presented as the pipe-smoking, successful artist with a warm and agreeable personality. He was a comfortable well-dressed man; he actually disliked being photographed in any other manner. He was at times pictured with a jaunty hat perched on his head. His appearance in photographs made him look more like a university academic than an artist. His career and ability were presented as duly secured over time in a precise fashion. His work had made him into the respected patriarch of Swedish modern painting, and he sought to portray himself as living the comfortable bourgeois life which he had acquired by virtue of this work. Even in his autobiography, personal difficulties with depression are only fleetingly mentioned while "happier'" circumstances receive great detail. Lundquist was not seen as a man who was at times incapacitated by depression. Rather he was the man, who after a long day at his studio, could be found in town relaxing with friends at "The Golden Peace" or "The Opera Cellar". This was the image Lundquist wanted the public to accept as factual and indeed it was accepted as fact by the public. To the public and to much of the broader art world Lundquist was recognized as a bourgeois man, if not also a bourgeois artist. Possible unintended consequence of edited persona Lundquist desired to portray himself as the "bourgeois" warm and friendly painter may have also had unintended consequences within the broader world of modern art, as he sought to get his works recognized. Lundquist did, at least initially, endeavor to promote and garner recognition of his artwork. He sought to promote his artwork beyond the borders of Sweden by ensuring they were included in international exhibitions. He was successful in the effort, and his works reached Europe, North and South America and were recognized as major achievements. However, the art world of the 1950s was in a state of flux; it had been deeply transformed by the disasters produced by World War II. The center of art had left Paris, and New York had now become the nexus of the world of modern art. What was now exciting to art patrons, whether the style of art or the personality/image of the artist, was in a state of change. Mary Gabriel wrote in her book Ninth Street Woman about her belief that anyone could