Question: Who is famous for the Hockney-Falco thesis?
About the article "Johannes Vermeer", section "Theories of mechanical aid".

Candidate passages:
The Hockney–Falco thesis is a controversial theory of art history, advanced by artist David Hockney and physicist Charles M. Falco, suggesting that advances in realism and accuracy in the history of Western art since the Renaissance were primarily the result of optical aids such as the camera obscura, camera lucida, and curved mirrors, rather than solely due the development of artistic technique and skill.
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.
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.
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. 
As described in "Secret Knowledge", in January 1999 during a visit to the National Gallery, London, Hockney conceived of the idea that optical aids were the key factor in the development of artistic realism.
He was struck by the accuracy of portraits by Jean Auguste Dominique Ingres, and became convinced that Ingres had used a camera lucida or similar device.
From there, Hockney began looking for signs of the use of optical aids in earlier paintings, creating what he called the "Great Wall" in his studio by organizing images of great realistic art by time period.
What he saw as a sudden rise of realism around 1420, combined with Charles Falco's suggestion that concave mirrors could have been used in that period to project images, was the germ of the Hockney–Falco thesis.
In 2000, Falco and Hockney published an analysis ("Optical Insights into Renaissance Art") of the likely use of concave mirrors in Jan van Eyck's work in "Optics & Photonics News", vol.
11.
In 2001, Hockney published an extended form of his argument in "Secret Knowledge". 
In the 2001 television programme and book, "Secret Knowledge", Hockney posited that the Old Masters used "camera obscura" techniques that projected the image of the subject onto the surface of the painting.
Hockney argues that this technique migrated gradually to Italy and most of Europe, and is the reason for the photographic style of painting we see in the Renaissance and later periods of art.
He published his conclusions in the 2001 book "Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters," which was revised in 2006. 
In addition to incredulity on the part of art historians and critics of modern art, some of the harshest criticism of the Hockney–Falco thesis came from another expert in optics, image processing and pattern recognition, David G. Stork.
Stork analyzed the images used by Falco and Hockney, and came to the conclusion that they do "not" demonstrate the kinds of optical distortion that curved mirrors or converging lenses would cause.
Falco has claimed that Stork's published criticisms have relied on fabricated data and misrepresentations of Hockney and Falco's theory.
Stork has rebutted this claim. 
In "Secret Knowledge", Hockney argues that early Renaissance artists such as Jan van Eyck and Lorenzo Lotto used concave mirrors; as evidence, he points to the chandelier in Van Eyck's "Arnolfini Portrait", the ear in Van Eyck's portrait of Cardinal Albergati, and the carpet in Lotto's "Husband and Wife".
Hockney suggests that later artists, beginning with Caravaggio, used convex mirrors as well, to achieve a large field of view.
"Secret Knowledge" recounts Hockney's search for evidence of optical aids in the work of earlier artists, including the assembly of a "Great Wall" of the history of Western art.
The 15th century work of Jan van Eyck seems to be the turning point, he argues, after which elements of realism became increasingly prominent.
He correlates shifts toward increased realism with advances in optical technologies.
The argument of "Secret Knowledge" is primarily a visual one, as Hockney was largely unable to determine when and how optical aids were used by textual or direct evidence.