David Hockney's Brilliance
I've re-read Hockney's "Secret Knowledge," the updated version, which includes a good deal of additional material not found in the original book I read nearly 20 years ago.
What is now known as the "Hockney-Falco Thesis" (https://en.wikipedia.org/wiki/Hockney%E2%80%93Falco_thesis) still feels right to me, aligning with my own observations and practices. What is most ludicrous of all is the condemnation of lens-based imagery in amateur painting circles. Even a casual analysis of the history of optics and image-making would discount this.
How does this relate to the emergence of plein-air painting? Is this practice a rebellion against using photography . . . considering that the enforcing of linear perspective is present in almost all paintings produced in this fashion?