[AISWorld] Who Wants A Free Tactical Flashlight?

[Evatac Taclite]

Who Wants A Free Tactical Flashlight?

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time that was more often a characteristic of academic painting, which very often depicted with great skill and care scenes that were contrived and artificial, or imagined historical scenes. It is the choice and treatment of subject matter that defines Realism as a movement in painting, rather than the careful attention to visual appearances. Other terms such as naturalism, naturalistic and "veristic" do not escape the same ambiguity, though the distinction between "realistic" (usually related to visual appearance) and "realist" is often useful, as is the term "illusionistic" for the accurate rendering of visual appearances.

Illusionistic realism

Lord Leighton's Cimabue's Celebrated Madonna of 1853–55 is at the end of a long tradition of illusionism in painting, but is not Realist in the sense of Courbet's work of the same period.
The development of increasingly accurate representation of the visual appearances of things has a long history in art. It includes elements such as the accurate depiction of the anatomy of humans and animals, of perspective and effects of distance, and of detailed effects of light and colour. The Art of the Upper Paleolithic in Europe achieved remarkably lifelike depictions of animals, and Ancient Egyptian art developed conventions involving both stylization and idealization that nevertheless allowed very effective depictions to be produced very widely and consistently. Ancient Greek art is commonly recognised as having made great progress in the representation of anatomy, and has remained an influential model ever since. No original works on panels or walls by the great Greek painters survive, but from literary accounts, and the surviving corpus of derivative works (mostly Graeco-Roman works in mosaic) it is clear that illusionism was highly valued in painting. Pliny the Elder's famous story of birds pecking at grapes painted by Zeuxis in the 5th century BC may well be a legend, but indicates the aspiration of Greek painting. As well as accuracy in shape, light and colour, Roman paintings show an unscientific but effective knowledge of representing distant objects smaller than closer ones, and representing regular geometric forms such as the roof and walls of a room with perspective. This progress in illusionistic effects in no way meant a rejection of idealism; statues of Greek gods and heroes attempt to represent with accuracy idealized and beautiful forms, though other works, such as heads of the famously ugly Socrates, were allowed to fall below these ideal standards of beauty. Roman portraiture, when not under too much Greek influence, shows a greater commitment to a truthful depiction of its subjects, called verism.