Metzinger's use of color in Femme au Chapeau is very closely related to the works of artist directly in his entourage known as the Fauves; quasi-pure greens, blues and violets, juxtaposed in groups far from randomly.

Unlike other Fauve works of the same period by Henri Matisse, André Derain, Maurice de Vlaminck or Kees van Dongen, Metzinger's composition is strongly Cézannian.

The vertical format and background structure creates a flattening of spatial perspective, reminiscent of Cézanne's 'multiple viewpoints', his search for order, discipline and permanence.

[7] In 1905, Matisse, Metzinger and Delaunay experimented with the technique of Divisionism, elaborating on the Neo-Impressionist principles of Georges Seurat, Henri-Edmond Cross and Paul Signac.

In contrast the Fauves, Metzinger's interest mathematics and geometry imbues his pairings with a sense of order, symmetry and the structured faceting.

I make a kind of chromatic versification, and for syllables, I use strokes which, variable in quality, cannot differ in dimension without modifying the rhythm of a picture phraseology destined to translate the diverse emotions aroused by nature" (quoted in R. Herbert, Neo-Impressionism, exh.

Following his youthful foray into divisionism, Metzinger turned briefly to a robust, Gauguinesque manner in rendering the figure, using strong outlines and flat areas of color.