In fact, with Lundquist, there is a degree of menace, "... formless matter takes over, breaks down and destroys". The degree of innovations and experimentation which Lundquist himself identified and distinguished in his works are divided into no less than eleven periods over the years of 1924 and 1957. To the general public, and indeed to art historians, much of this evolution in style would be unnoticed to the degree that Lundquist himself would recognize. In the mid/late 1920's and up to the mid 1930s, Lundquist painted in the styles that were most prevalent at the time. For lecturer Teddy Brunius of Uppsala University, that Lundquist may be seen in earlier works to have referenced Edvard Munch was natural. What separated Lundquist from those who were only imitators of Munch was Lundquist's artistic "independence" and his artistic temperament which was that of a "pioneer". Given his artistic ability to paint in these styles, and his innovative ability to make them his own without imitation, it would have been natural to assume that he would continue to do so. However, in the mid 1930s, he began to alter his style of painting. Lundquist himself felt that he had now reached a level of his own maturity as an artist, and that his works of this period reflected this. He described his new stylistic developments as a, "solid, monumentally simplified and architecturally closed form and a synthesizing color form; the basic element of my artistic attitude." Writer Rolf Söderberg described Lundquist's use of color as vivid and intense. Lundquist had begun to break from an emphasis on the neutral tones, he had begun to use others such as "ice green, violet, orange, flesh red". Jardin du Luxembourg (1933–1934), which was included in Lundquist's debut exhibition in 1934, is a relevant example of his early works. In this present example, the artist has moved away from a rather straightforward attempt at portraying landscapes or still life which he had done earlier in his career. The painting demonstrates the "simplified architecture" and "synthesis of color" that Lundquist cited as part of his artistic process of the period. Brushstrokes in Jardin du Luxembourg are heavy, clearly defined and visible. While they do function to create the final image, they are not logical in relation to the subject matter. As they create the image, they do not support it by subjecting themselves individually to it. The