Secret Knowledge Rediscovering the Lost Techniques of the Old Masters by David Hockney Viking, 296 pp., $60 WHEN David Hockney shared his hunches about optics and art history with the New Yorker ...

In 1999, David Hockney was surveying the drawings of French Neoclassicist Jean-Auguste-Dominique Ingres at London’s National Gallery when an uncanny feeling crept over him. The graphite works were too ...

When Cologne’s Ludwig Museum approached David Hockney in the mid-’90s about doing a major retrospective of his photography, Hockney immediately agreed. “I assumed it wouldn’t take much of my time,” he ...

Hockney countered that he wasn't suggesting anything of the sort—that he was speaking of a time, at least at the outset, when the gap between the arts and sciences had yet to open, when artists like ...

COMPUTER analysis of a 17th-century painting shows that the artist did not, as has been claimed, use optical devices to project a perfect image of the scene onto his canvas. The researcher behind the ...

In response to “Traces of Artistry,” by Laurie Fendrich (The Review, January 11), I have followed the optics debate for over a year, and I am less concerned with whether or not David Hockney is right ...

David Hockney’s “Home Made Prints” series from the collection of the Jordan Schnitzer Family Foundation. Image by RJ Sanchez; Image courtesy of the Palm Springs Art Museum When I think of Hockney, ...

David Hockney, “Portrait of an Artist (Pool with Two Figures)” (1972), acrylic paint on canvas, 2140 x 3048 mm (Lewis Collection © David Hockney, photo credit ...

For decades, David Hockney has been arguing that Old Masters “from Velázquez to Vermeer” used optical aids to help them produce their work, said Alastair Sooke in The Daily Telegraph. Critics have ...