▁super im posed ▁with ▁geometric ▁elements ▁that ▁compose ▁the ▁background . ▁Dep th ▁of ▁field ▁is ▁pract ically ▁non - present . ▁Blues , ▁whites ▁and ▁red s ▁domin ate ▁the ▁composition . ▁Gre ens ▁and ▁och ers ▁serve ▁to ▁del ine ate ▁elements ▁in ▁the ▁for eground ▁( ar ms , ▁leg , ▁table ). ▁ ▁Met z inger ' s ▁works ▁from ▁ 1 9 1 5 ▁and ▁ 1 9 1 6 ▁show ▁a ▁more ▁rest rained ▁use ▁of ▁rect il ine ar ▁gr ids , ▁heavy ▁surface ▁texture ▁and ▁bold ▁decor ative ▁pattern ing . ▁The ▁manifest ▁prim acy ▁of ▁the ▁geometric ▁arm ature ▁strik ingly ▁controls ▁nearly ▁every ▁element ▁of ▁the ▁composition , ▁ens uring ▁the ▁synth etic ▁unity ▁of ▁the ▁whole . ▁ ▁" Direct ▁reference ▁to ▁observed ▁reality " ▁is ▁still ▁present , ▁but ▁now ▁the ▁emphas is ▁is ▁placed ▁on ▁the ▁self - su ffic iency ▁of ▁the ▁painting ▁as ▁an ▁object ▁unto ▁itself . ▁" Order ly ▁qual ities " ▁and ▁the ▁" aut onom ous ▁pur ity " ▁of ▁the ▁composition ▁are ▁now ▁a ▁prime ▁concern . ▁ ▁Background ▁ ▁The ▁Cub ist ▁consider ations ▁manif ested ▁prior ▁to ▁the ▁out set ▁of ▁World ▁War ▁I — such ▁as ▁the ▁fourth ▁dimension , ▁dynam ism ▁of ▁modern ▁life , ▁the ▁occ ult , ▁and ▁Henri ▁Berg son ' s ▁concept ▁of ▁duration — had ▁now ▁been ▁vac ated , ▁replaced ▁by ▁a ▁purely ▁formal ▁reference ▁frame . ▁ ▁This ▁clar ity ▁and ▁sense