brushstrokes become "individuals" that Lundquist has "applied to describe themselves." This "conflict" of brushstroke, as irrational and independent from subject, would continue to be developed and used by Lundquist during this time and in later works. Kvinnorna vid brunnen, painted in 1938, is also an example of this period. The painting depicts two women in a simplified form but within a cohesive structure. The dark color of the women contrast pointedly against the deep reds surrounding them. Nonetheless, the color and structure form a coherent whole to tell us about what we are viewing. The women are featureless, therefore color tone, composition and structure must guide the viewer's interpretations. While the paintings have elements which evoke the styles of Henri de Toulouse-Lautrec and James Ensor, they also have stylistic elements which were Lundquist's own innovations and which will become his hallmarks. Art critic Olle Granath believed that works like Jardin du Luxembourg were harbingers of what would eventually come to be Lundquist's style for the next fifty years. While Lundquist may have initially felt that he had reached his mature style in the mid 1930s, he continued to change and develop. After 1939, Lundquist's more recognized style would begin to develop though he would continue to evolve and refine his style further, particularly after 1950. Olle Granath felt that Lundquist's art, had begun to revolve around his interpretation of the elements of fire, air, water and the earth. He premised that Lundquist had made a major artistic development and had found a fifth element in the actual impasto and color of his painted surfaces, which by their interplay with the subject matter gave weight to the other four elements. Color was its own light; it was light which reflected out from the canvas and thus freed itself from the earthy elements while simultaneously highlighting them in the process. For Granath, to look at a Lundquist painting was to be "drenched by giant waves or refreshed by a bubbling spring, to be dazzled by the fire of the sun and guided by the burning light..." Lundquist's 1941 Parklandskap is an example of this concept. The intensity of its color/impasto, depicting a dazzling sky/sun, seems to generate its own searing light/heat while highlighting the earthly elements of the landscape. As Lundquist said himself "it should smell hot", when (the artwork) is finished". In Parklandskap the viewer is facing the dramatic conflict between