Realism (art) in the context of "Eilif Peterssen"

A hierarchy of genres is any formalization which ranks different genres in an art form in terms of their prestige and cultural value.

In literature, the epic was considered the highest form, for the reason expressed by Samuel Johnson in his Life of John Milton: "By the general consent of criticks, the first praise of genius is due to the writer of an epick poem, as it requires an assemblage of all the powers which are singly sufficient for other compositions." Below that came lyric poetry, and comic poetry, with a similar ranking for drama. The novel took a long time to establish a firm place in the hierarchy, doing so only as belief in any systematic hierarchy of forms expired in the 19th century.

Illusionism in art history means either the tradition of art that appears to share the physical space with the viewer or more broadly the attempt to represent physical appearances precisely – also called mimesis. The latter can also be called realism, but the term can also mean the use of everyday subject-matter, or the avoidance of idealizing subjects. Illusionism encompasses a long history, from the deceptions of Zeuxis and Parrhasius to the works of muralist Richard Haas in the twentieth century, that includes trompe-l'œil, anamorphosis, optical art, abstract illusionism, and illusionistic ceiling painting techniques such as di sotto in sù and quadratura. Sculptural illusionism includes works, often painted, that appear real from a distance. Other forms, such as the illusionistic tradition in the theatre, and Samuel van Hoogstraten's "peepshow"-boxes from the seventeenth century, combine illusionistic techniques and media.

Carl Schleicher (born Cölestin Schleicher, 1825 – October 2, 1903) was a realistic painter from the 19th century.

In classical antiquity, the muscle cuirass (Latin: lorica musculata), anatomical cuirass, or heroic cuirass is a type of cuirass made to fit the wearer's torso and designed to mimic an idealized male human physique. It first appears in late Archaic Greece and became widespread throughout the 5th and 4th centuries BC. Originally made from hammered bronze plate, boiled leather also came to be used. It is commonly depicted in Greek and Roman art, where it is worn by generals, emperors, and deities during periods when soldiers used other types.

In Roman sculpture, the muscle cuirass is often highly ornamented with mythological scenes. Archaeological finds of relatively unadorned cuirasses, as well as their depiction by artists in military scenes, indicate that simpler versions were worn in combat situations. The anatomy of muscle cuirasses intended for use might be either realistic or reduced to an abstract design; the fantastically illustrated cuirasses worn by gods and emperors in Roman statues usually incorporate realistic nipples and the navel within the scene depicted.