created a unique interplay between motif and color. She found this method contrasted with his later works which tended toward inner movement and multi-layers of paint. Ericsson stated, "it is Lundquist's way of handling pigment that frequently makes him a rather divided painter. I think it is this that also makes him one of my artistic companions and favorites." Artist Andre Forge spoke to BBC Radio 3 on 3 March 1960 to express his opinion that Lundquist had achieved an equality between his motif and form (brushstroke/impasto) and materials (paint/color) that was unprecedented in modern European artists. He contrasted Lundquist's achievement with the Cubist promise to do so, claiming the cubist had "formulated the intention, then dropped it in a maze of half-solutions". To Forge, Lundquist was of exceptional importance as "he has placed the reality of his subject-matter and the reality of his picture as an object on the same level. And he has done this without any artificial fracturing of the different levels on which the picture is read".(During the interview Forge misidentifies the name of Lundquist's Painting at the Tate calling it Girl at a Window. The name of the painting is Woman in Red.) British artist Cliff Holden felt Lundquist's use of "tonal range and thick impasto" was reminiscent of Jo Tilson and artists of the Beaux Arts Gallery, but was quick to point out that Lundquist had not used this as a trick or "gimmick". In Lundquist's works, the impasto came about, "in the passionate wrestling with the material which he tries to bring to life in an image which each time is the result of a unique experience... (Lundquist's works preceded but anticipated) Nicholas de Stael, yet without falling into that morass of conflict between the figurative and non-figurative quality of images. Like Bomberg, Lundquist works towards a synthesis of the two attitudes." Holden, recalling Lundquist's interests in the philosophies of Schopenhauer and Wittgenstein, felt Lundquist aims could be framed in a quotation from the Tractatus Logico-Philosophicus; "The picture represents a possible state of affairs in logical space. The picture contains the possibility of the state of affairs, which it represents. The picture agrees with reality or not, it is right or wrong, true or false. The picture represents what it represents, independently of its truth or falsehood, through the form of representation. What the picture represents is its sense. In the agreement or