prime development stages in the early 1940s, particularly in the United States. In many ways, Lundquist and other European artist were developing similar approaches to art independently of other artists. Artist Cliff Holden made such an observations when he first saw Lundquist's works. He found the works to be quite a revelation. He felt Lundquist and his mentor, artist David Bloomberg, had been creating similar works; The artists were paralleling the "philosophy, theory and practice" of the other. The artists had begun to create images "in mass" as opposed to images which used detail for narration. Bloomberg, at the Borough Polytechnic, would latter teach artists Frank Auerbach and Leon Kossoff. Auerbach and Kossoff are often referenced as having stylistically similarities with Lundquist. That two or more artists may follow a similar trajectory while unknown to each other, and unaware of the esthetics of the other artist, is familiar. An example can be found in the early beginnings of pop art. A baffled (and somewhat suspicious) Andy Warhol could not account for the similarity of his work and the work of Roy Lichtenstein, the most obvious differences being that Lichtenstein continued to rely more on the painterly process while Warhol had already begun to apply the concept of commercial appeal and early ideas of mass-production to his art. Significance to contemporaries & current artists Lundquist is recognized today as a key artist in modern Swedish art and its development. Lundquist's contemporaries, as well as current artists, recognize his importance and contributions. Leif Mattsson recalled how he had seen young artist respond "with curious looks" and "dropped chins" when they were confronted with the effusive "artistic power" of works by Lundquist. Amusingly, Mattison quipped that when students had seen the techniques Lundquist used, "the pasty color, the carvings, the furrows" the techniques themselves appeared like "swear words in the church". The way that Lundquist mastered and used paint, paint that was itself something of a constantly changing and living thing and intrinsically difficult to tame, made him of "considerable rank." Yet, he did not compromise, his works were "raw" and represented "compositional simplicity." Torsten Andersson felt that Lundquist had created a new type of visual language, and that the canvases after the late 1930s had broken away and come to life. He noticed a correlation between the weight (of impasto) and the deeper (and heavier) meanings of the paintings. Georg Baselitz claimed