And while there are nods to those post-cubist experiments in a few drawings, they are pretty scant. Among other things, Eighties drawings made of Gregory, the master printmaker Maurice Payne, and a cluster of self-portraits prove that while Hockney avoided returning to that sublime Seventies line, he continued drawing with a classicist edge –indeed, also productively channelling Picasso’s own neo-classical period of the 1910s and Twenties. And the pencil drawings made in 1999 with an optical device, the camera lucida – inspired by seeing an Ingres show at the National Gallery – are among the best things here.
