day and night. As the sun's rays dissipate into darkness, the sky blazes and illuminates the landscape in its hot, but final, light. Branches of a tree and a lone and simple farmer's plow stand in opposition to the dramatics/transitions of the moment. In the fleeting marriage between the contradictions of day and night, the viewer can grasp the fragility of the moment itself while the simplest elements, that of the farmer's plow and tree branches, remain the constants. It is an example of what Brunius notes as Lundquist's use of a restricted color register. The work is homogeneous yet still creates an atmosphere that is intense, "the surface of the canvas like fire and embers". This work also serves to highlight the ties between the viewer (man) and nature while also highlighting man's encounter with nature, both of which Granath felt were major themes for Lundquist. Lundquist's works during the 1950s, and thereafter, established a dialogue between what would be considered the traditional and its counterpart, innovation. Everyday objects, painted as still life contrasted with the ever-changing and dynamic light surrounding them by which "an all-embracing – non-hierarchical – composition is created, all of its parts of equal value." In 1962, Lundquist created Det vita bordet (Bordet). In this painting, Lundquist allows the objects portrayed to be "born by the light". The light from the painting radiates to the viewer, inviting the viewer into an intimate and self-illuminating world. Each object portrayed in Det vita bordet seems ready to reveal its inner mystery to the viewer, one by one, each object having its own independent and equal value. By 1964, Lundquist had reached a peak in his technical and artistic ability as demonstrated in his 1964 work Hatten. In this example, the simplicity of the motif belies the complex and diverse synthesis of light, color and textural form which Lundquist has created using the powerful brushstrokes of a mature abstract expressionist. Still, for all the dynamics of Lundquist's painted surfaces, what was ostensibly to become the subject matter of the painting would often remain a singular, simple "everyday object". Another recurring motif was the humble coffee cup. Museum curator and art critic Ulf Linde stated that Lundquist "found" the cup during a trip by car in Northern France. Lundquist envisioned the simple object as animate, alive. He viewed its whiteness as a "world of color" that was both celestial