▁dent elle ▁( 1 9 1 6 , ▁Musée ▁d ' Art ▁Mod erne ▁de ▁la ▁Ville ▁de ▁Paris ); ▁Summer ▁( 1 9 1 6 , ▁Stat ens ▁Museum ▁for ▁Kunst ); ▁Le ▁go û ter ▁( 1 9 1 7 , ▁Galerie ▁Mal ing ue , ▁Paris ); ▁T ête ▁de ▁femme ▁( 1 9 1 6 – 1 7 , ▁private ▁collection ); ▁and ▁two ▁works ▁very ▁closely ▁related ▁to ▁Fem me ▁au ▁m iro ir : ▁Fem me ▁devant ▁le ▁m iro ir ▁( c . ▁ 1 9 1 4 , ▁private ▁collection ) ▁and ▁Fem me ▁au ▁m iro ir ▁( 1 9 1 6 – 1 7 , ▁D onn ▁Sh api ro ▁collection ). ▁ ▁Im ages ▁were ▁now ▁created ▁sole ly ▁out ▁of ▁the ▁imagination ▁of ▁the ▁artist ▁( or ▁virt ually ▁so ), ▁independent ▁of ▁any ▁visual ▁starting ▁point . ▁Ob ser ved ▁reality ▁and ▁all ▁that ▁is ▁referred ▁to ▁in ▁life ▁was ▁no ▁longer ▁needed ▁as ▁foundation ▁for ▁art istic ▁production . ▁The ▁synth etic ▁manip ulation ▁of ▁abstract ▁geometric ▁shapes , ▁or ▁" math emat ical ▁expression ▁of ▁the ▁relations ▁that ▁exist ▁between ▁the ▁le ▁moi ▁and ▁the ▁world ", ▁to ▁use ▁the ▁words ▁of ▁Met z inger , ▁was ▁the ▁ideal ▁met aph ys ical ▁starting ▁point . ▁Only ▁afterwards ▁would ▁those ▁structures ▁be ▁made ▁to ▁denote ▁objects ▁of ▁choice . ▁ ▁Ex hib itions ▁and ▁proven ance ▁ ▁In ▁ 1 9 1 8 ▁Fem me ▁au ▁m iro