Part of Hockney's work involved collaboration with Charles Falco, a condensed matter physicist and an expert in optics. The hypothesis led to a variety of conferences and heated discussions. Since then, Hockney and Falco have produced a number of publications on positive evidence of the use of optical aids, and the historical plausibility of such methods. In a 2001 book, Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters, Hockney analyzed the work of the Old Masters and argued that the level of accuracy represented in their work is impossible to create by "eyeballing it". Nineteenth-century artists' use of photography had been well documented. Both argued that advances in realism and accuracy in the history of Western art since the Renaissance were primarily the result of optical instruments such as the camera obscura, camera lucida, and curved mirrors, rather than solely due to the development of artistic technique and skill. The Hockney–Falco thesis is a theory of art history, advanced by artist David Hockney and physicist Charles M. According to the Hockney–Falco thesis, such devices were central to much of the great art from the Renaissance period to the dawn of modern art. A diagram of the camera obscura from 1772.
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