that after seeing an "axe" painting (an important motif in Lundquist's oeuvre) he questioned whether he himself should begin again as an artist. The painting continued to inspire this question in him some 46 years after seeing it. Kjell Strandqvist, felt that Evert Lundquist was one of the few painters who had the ability and knowledge which enabled him to successfully use his "artistic space". Lundquist's method of painting, the use of a large brush to create a limited brushstroke, generated a certain type of abstraction, "a free relation to mimesis." The motifs of the paintings did not escape, entirely free, from the copious "oily traces of his color" but were materially substantive enough to "convince us". They hovered between "creation and decay" allowing for an interesting dynamic to exist within the paintings. Irrespective of the strong form, "we feel that the resolution is within reach." Sigrid Sandström traveled to Vaxholm to visit the painting Kvinna vid den vita muren (Woman by the White Wall) by Lundquist. She commented not only on how she could see the influence on later artists such as Peter Doig but also noticed references to Arnold Böcklin (1827–1901) and Ivan Aguéli (1869–1917). The paint's color/impasto portrayed the light so that it seemed hot and exotic. She says, "I was struck by the way the febrile brushwork seemed to have a life of its own independently of the subject matter[...]lacking in rhythm[...] it covers the surface, demanding attention. Those areas that appeared to be transparent turn out to be very thickly painted." She felt that the motif chosen by Lundquist was something of a ruse, just a hint at the true message. Per Kirkeby argued that Lundquist was held out, by some, to be the return of actual "painting". He felt this was a facile claim as Lundquist had been painting "underground" and was still painting even as many were just beginning to see through "postulated painting". As an artist, Lundquist was not touched or moved by the demands or temptations of the world but rather painted because it was what he must do; it was what he was. Andreas Eriksson recalled naming Lundquist her favorite painter, she found the early 1940s paintings by Lundquist had become important to her on an artistic level as she began to explore her own narrative. She found the manner in which Lundquist mixed the pigments directly upon his canvases