were respected but they were no longer completely binding. Free from the concreteness of Lundquist's narrative, his art and his own personality, were no longer limited to surface level appearances. Lundquist, in his own life, had surrounded himself within layers of his own inventions and/or identifications. In a sense his painting seemed to do the same; the many and multiple layers of paint built up over themselves, become a metaphor of his own personality. When considering the style of Lundquist and what his art truthfully represents, the patron can now take notice of the concepts/conclusions that have been developed apart from Lundquist's statements regarding his work. Art critic and Professor Emeritus Terry Barrett claims that while it would be unwise to completely ignore an artist's statements about their art, it would also be equally unwise to be completely bound to them. Ironically, Lundquist a man who had created a layered and edited persona of himself in order to free himself from his "demons" and also wrote much about his feelings in relation to his life and art, had not shown any desire to apply psychology to interpret his work. It is easy to understand how an application of "Barrett's Principles of Interpretation" could have yielded significant and valid understandings. During the Retrospective, even the outer elements of Lundquist's artistic control were removed; the gold frames encasing the artwork, often put on by the artist himself as a further metaphor of the "bourgeois", were stripped away. The paintings, nearly bare, were displayed so that they were the focus and the emphasis. For art critic Peter Cornell, the retrospective had freed Lundquist from the "pompous" frames; his art was now able to be seen on its own terms. Lundquist was not simply a reclusive lonely artist but rather a full part "of the philosophy of his times". The exhibition had wiped the "dust" away; Lundquist and his art were evident and discernible again. Lundquist remains a key central figure in Swedish Modern Art. As interesting as the reinterpretations can be, perhaps for the causal viewer the thoughts of Björn Widegren are most relevant. Describing Lundquist, Widegren "(saw) a painter standing next to his time ... without being ashamed of it." To Widegren, Lundquist may have painted lonely motifs but in his technique, using the heavy color enriched impasto, he allowed those "lonely" motifs to imbibe intensity and energy. Lundquist was able to