Strangely Distant, Flat, and One-Dimensional

David Hockney, talking with Lawrence Weschler in 1984 (from Weschler's collection, Vermeer in Bosnia):

There was recently a remarkable 'Essential Cubism' show at the Tate, and I spent hour and hours there during my last trip to London. That show forced you to slow down. If you just glanced quickly, you didn't see anything. But, when you did slow down, the paintings just grew and grew. Your eyes darted in and out, forward and back, just like in the real world. At times, you almost forgot you were looking at pictures on a wall! Coming out of those galleries, it just happened that I was confronted with my own painting of Ossie and Celia and, right near it, a Francis Bacon triptych. The Cubist paintings had been mainly still lifes, and here these ones of Bacon's and mine were fairly dramatic painting of people. You'd have thought they would have stood up. But, on the contrary, following the intensity of the experience of the Cubist studies, those two paintings-- based as they were on a pretty standard one-point perspective-- seemed strangely distant, flat, and one-dimensional.