easily see that public interests in art had changed and that works of art prior to 1940 had lost their vogue. The works, and the style of the works, no longer could describe the psyche of the public after World War II. Gabriel writes that she understood and agreed with the words of poet Adrienne Rich who wrote of the period, "radical change in human sensibility required radical changes in artistic style". The world had changed and art was chaining with it. It would follow that the personalities of the artist would mimic the change. In 1950, twenty seven artists signed a letter announcing their intention to boycott the exhibition "American Painting Today" at the Metropolitan Museum. Jackson Pollock, unavailable to sign, sent a telegram authorizing his agreement; thus twenty eight artists would come to affirm the letter. Among the twenty eight were: Willem de Kooning, Robert Motherwell, Mark Rothko, Adolph Gottlieb, Barnett Newman, Clyfford Still and Jackson Pollock; all who would go on to become iconic in the American Abstract Art Movement. A photographer for Life Magazine took a picture of fifteen of these artists and named them "The Irascibles", thus codifying their individualism into a common identity. The press portrayed them as tough, angry New York-based artists who were impoverished, hard-boiled and living in the cold water flats of New York, while fighting "the system" for recognition of their art. The "Irascibles" were the antithesis of the bourgeoisie, the personal motif that Lundquist identified with and promoted himself as representing. The image of the "Irascibles" contrasted greatly with the projected image of the agreeable-tempered Lundquist who painted in his art nouveau studio nestled in the tranquil park-lands of King Gustav's palace and there carefully put his finished masterful art into ornate golden frames. It is not difficult to imagine that Lundquist's projections may have worked against him in the shifting values of what was now considered exciting in the personality, as distinct from the actual artwork, of artists in the postwar art world. Perhaps his portrayed persona supported a stereotype and bias that had previously existed which, at times, portrayed Swedish artists as somehow "too provincial". This stereotype was mentioned and complained about as late as 1959 by critic Clas Brunius. Lundquist had actually been confronted by such a biased perception. Fellow artist and friend Cliff Holden relates that he had requested Lawrence Alloway, who was then the