▁the ▁per ception ▁of ▁depth ▁had ▁been ▁greatly ▁reduced , ▁now , ▁the ▁depth ▁of ▁field ▁was ▁no ▁greater ▁than ▁a ▁bas - rel ief . ▁ ▁Met z inger ' s ▁evolution ▁toward ▁synth esis ▁has ▁its ▁orig ins ▁in ▁the ▁configuration ▁of ▁flat ▁squares , ▁tra pe zo idal ▁and ▁rect angular ▁plan es ▁that ▁overlap ▁and ▁inter we ave , ▁a ▁" new ▁perspective " ▁in ▁accord ▁with ▁the ▁" la ws ▁of ▁disp lacement ". ▁In ▁the ▁case ▁of ▁Le ▁F ume ur ▁Met z inger ▁filled ▁in ▁these ▁simple ▁shapes ▁with ▁grad ations ▁of ▁color , ▁wall paper - like ▁patterns ▁and ▁rh yth mic ▁curves . ▁So ▁too ▁in ▁Au ▁V él od rome . ▁But ▁the ▁underlying ▁arm ature ▁upon ▁which ▁all ▁is ▁built ▁is ▁pal p able . ▁V ac ating ▁these ▁non - ess ential ▁features ▁would ▁lead ▁Met z inger ▁on ▁a ▁path ▁towards ▁Fem me ▁au ▁m iro ir , ▁and ▁a ▁host ▁of ▁other ▁works ▁created ▁before ▁and ▁after ▁the ▁artist ' s ▁dem obil ization ▁as ▁a ▁medical ▁order ly ▁during ▁the ▁war , ▁such ▁as ▁L ' inf ir mi ère ▁( The ▁Nur se , ▁location ▁unknown ); ▁Sold ier ▁at ▁a ▁Game ▁of ▁Ch ess ▁( 1 9 1 4 – 1 5 , ▁Sm art ▁Museum ▁of ▁Art ); ▁Land s cape ▁with ▁Open ▁Window ▁( 1 9 1 5 , ▁Musée ▁des ▁Be aux - Ar ts ▁de ▁N antes ); ▁Fem me ▁à ▁la