▁walls , ▁an ▁ear ▁ring — and ▁human ▁figures . ▁Most ▁out standing ▁of ▁all , ▁however , ▁is ▁the ▁angular ▁ju xt ap osition ▁of ▁the ▁surface ▁plan es , ▁which ▁the ▁works ▁hold ▁in ▁common . ▁ ▁During ▁ 1 9 1 6 , ▁Sunday ▁discuss ions ▁at ▁the ▁studio ▁of ▁Jacques ▁Lip ch itz ▁included ▁Met z inger , ▁Gr is , ▁Pablo ▁Pic asso , ▁Diego ▁River a , ▁Henri ▁Mat isse , ▁Am ede o ▁Mod igli ani , ▁Pierre ▁Re ver dy , ▁André ▁Sal mon , ▁Max ▁Jacob , ▁and ▁Bla ise ▁C end r ars . ▁Met z inger ▁and ▁Gr is ▁were ▁thus ▁in ▁close ▁contact . ▁ ▁In ▁a ▁letter ▁written ▁in ▁Paris ▁to ▁Albert ▁G le izes ▁in ▁Barcelona ▁during ▁the ▁war , ▁dated ▁ 4 ▁July ▁ 1 9 1 6 , ▁Met z inger ▁writes : ▁After ▁two ▁years ▁of ▁study ▁I ▁have ▁succeeded ▁in ▁establish ing ▁the ▁basis ▁of ▁this ▁new ▁perspective ▁I ▁have ▁talked ▁about ▁so ▁much . ▁It ▁is ▁not ▁the ▁material ist ▁perspective ▁of ▁Gr is , ▁nor ▁the ▁rom antic ▁perspective ▁of ▁Pic asso . ▁It ▁is ▁rather ▁a ▁met aph ys ical ▁perspective — I ▁take ▁full ▁responsibility ▁for ▁the ▁word . ▁You ▁can ' t ▁begin ▁to ▁imagine ▁what ▁I ' ve ▁found ▁out ▁since ▁the ▁beginning ▁of ▁the ▁war , ▁working ▁outside ▁painting ▁but ▁for ▁painting . ▁The ▁geometry ▁of ▁the ▁fourth ▁space ▁has ▁no ▁more ▁secret ▁for ▁me . ▁Pre viously