oke ▁points ▁out , ▁Gr is ▁started ▁painting ▁persist ently ▁in ▁ 1 9 1 1 ▁and ▁first ▁exhib ited ▁at ▁the ▁ 1 9 1 2 ▁Sal on ▁des ▁Ind ép end ants . ▁" He ▁appears ▁with ▁two ▁styles ", ▁writes ▁Bro oke , ▁" In ▁one ▁of ▁them ▁a ▁grid ▁structure ▁appears ▁that ▁is ▁clearly ▁rem in is cent ▁of ▁the ▁Go û ter ▁and ▁of ▁Met z inger ' s ▁later ▁work ▁in ▁ 1 9 1 2 . ▁In ▁the ▁other , ▁the ▁grid ▁is ▁still ▁present ▁but ▁the ▁lines ▁are ▁not ▁stated ▁and ▁their ▁continu ity ▁is ▁broken ". ▁ ▁Art ▁historian ▁Christopher ▁Green ▁writes ▁that ▁the ▁" de form ations ▁of ▁lines " ▁allowed ▁by ▁mobile ▁perspective ▁in ▁the ▁head ▁of ▁Met z inger ' s ▁Te a - time ▁and ▁G le izes ' s ▁Jacques ▁N ay ral ▁" have ▁seemed ▁tent ative ▁to ▁histor ians ▁of ▁Cub ism . ▁In ▁ 1 9 1 1 , ▁as ▁the ▁key ▁area ▁of ▁li ken ess ▁and ▁un li ken ess , ▁they ▁more ▁than ▁anything ▁released ▁the ▁laugh ter ." ▁Green ▁continues , ▁" This ▁was ▁the ▁wider ▁context ▁of ▁Gr is ' s ▁decision ▁at ▁the ▁Ind ép end ants ▁of ▁ 1 9 1 2 ▁to ▁make ▁his ▁debut ▁with ▁a ▁Hom age ▁to ▁Pablo ▁Pic asso , ▁which ▁was ▁a ▁portrait , ▁and ▁to ▁do ▁so ▁with ▁a ▁portrait ▁that ▁respond ed ▁to ▁Pic asso ' s ▁port ra its ▁of