Despite Metzinger's conceptualism of Cubist painting—the reflexive function of complex geometry, juxtaposed multiple perspectives, planar fragmentation suggesting motion and rhythmic play with various symmetry types—there does manifest itself in Danseuse a certain spatial depth or perspective reminiscent of the optical illusion of space of the Renaissance; in the way, for example, the wall-mounted lighting fixtures become smaller with distance, and so too the man at the upper left appearing smaller in the background than his counterparts in the foreground. It shows that non-Euclidean geometry does not imply the absolute destruction of classical perspective, or that simply, the breakdown of classical perspective need not be complete.
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