▁ 1 9 1 0 ▁through ▁the ▁inter medi ary ▁of ▁Met z inger ' s ▁Te a - time . ▁ ▁While ▁Met z inger ' s ▁process ▁of ▁dist ill ation ▁is ▁already ▁notice able ▁during ▁the ▁latter ▁half ▁of ▁ 1 9 1 5 , ▁and ▁consp ic u ously ▁extending ▁into ▁early ▁ 1 9 1 6 , ▁this ▁shift ▁is ▁sign aled ▁in ▁the ▁works ▁of ▁Gr is ▁and ▁Lip ch itz ▁from ▁the ▁latter ▁half ▁of ▁ 1 9 1 6 , ▁and ▁particularly ▁between ▁ 1 9 1 7 ▁and ▁ 1 9 1 8 . ▁ ▁K ahn we iler ▁dated ▁the ▁shift ▁in ▁style ▁of ▁Juan ▁Gr is ▁to ▁the ▁summer ▁and ▁aut umn ▁of ▁ 1 9 1 6 , ▁following ▁the ▁point ill iste ▁paint ings ▁of ▁early ▁ 1 9 1 6 . ▁This ▁times c ale ▁corresponds ▁with ▁the ▁period ▁after ▁which ▁Gr is ▁signed ▁a ▁contract ▁with ▁Lé once ▁Ros enberg , ▁following ▁a ▁r ally ▁of ▁support ▁by ▁Henri ▁Laur ens , ▁Lip ch itz ▁and ▁Met z inger . ▁ ▁Met z inger ' s ▁radical ▁geomet riz ation ▁of ▁form ▁as ▁an ▁underlying ▁architect ural ▁basis ▁for ▁his ▁compos itions ▁is ▁already ▁visible ▁in ▁his ▁work ▁circa ▁ 1 9 1 2 – 1 3 , ▁in ▁paint ings ▁such ▁as ▁Au ▁V él od rome ▁( 1 9 1 2 ) ▁and ▁Le ▁F ume ur ▁( 1 9 1 3 ). ▁Where ▁before ,