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Hockney–Falco thesis
The Hockney–Falco thesis is a theory of art history, advanced by artist David Hockney and physicist Charles M. Falco. Both claimed 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 the development of artistic technique and skill. Nineteenth-century artists' use of photography had been well documented.〔In Aaron Scharf's 1968 book ''Art and Photography'' (Allen Lane, The Penguin Press), referred to by Hockney in his 1977 painting ''My Parents'' (Tate, London) in which his father attentively reads the volume. Scharf notes in his introduction (p.1); 'In 1568 Daniele Barbaro, the Venetian writer on architecture, recommended the camera Obscura as an aid to artists: "By holding the paper steady you can trace the whole perspective outline with a pen, shade it, and delicately colour it from nature."'〕 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". 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. The hypothesis led to a variety of conferences and heated discussions.
The hypothesis that technology was used in the production of Renaissance Art was not much in dispute in early studies and literature. The 1929 Encyclopedia Britannica contained an extensive article on the camera obscura and cited Leon Battista Alberti as the first documented user of the device as early as 1437.〔 The discussion started by the Hockney-Falco thesis ignored the abundant evidence for widespread use of various technical devices, at least in the Renaissance, and, e.g., Early Netherlandish painting.〔
==Setup of the 2001 publication==
Part of Hockney's work involved collaboration with Charles Falco, a condensed matter physicist and an expert in optics. While the use of optical aids would generally enhance accuracy, Falco calculated the types of distortion that would result from specific optical devices; Hockney and Falco argued that such errors could in fact be found in the work of some of the Old Masters.〔Charles Falco, (FAQ ) (accessed March 16, 2007). 〕
Hockney's book prompted intense and sustained debate among artists, art historians, and a wide variety of other scholars. In particular, it has spurred increased interest in the actual methods and techniques of artists among scientists and historians of science, as well as general historians and art historians. The latter have in general reacted unfavorably, interpreting the Hockney–Falco thesis as an accusation that the Old Masters "cheated" and intentionally obscured their methods. Physicist David G. Stork and several co-authors have argued against the Hockney–Falco thesis from a technical standpoint.〔Christopher W. Tyler, "Rosetta Stoned?" (Diatrope.com )〕
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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