Color reproduction, accuracy, and lifelikeness was stellar with 4K shows from Amazon Prime and Netflix.
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Lifelikeness, though important to Canova, was not the principal goal of the North Carolina statue.
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That recording is then used to animate a creature whose movements have a peculiar lifelikeness.
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Or, to approach the differences from another angle: The sculptures in "Like Life" keep asking you to judge their lifelikeness, to believe the illusion.
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But the lifelikeness of both are dwarfed by Mica: a prototype that Magic Leap, a highly regarded augmented-reality startup, unveiled at its conference Wednesday.
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"Waxworks have this simultaneous lifelikeness and deathlikeness," Michelle Bloom, a professor of comparative literature and French at University of California, Riverside and the author of "Waxworks: A Cultural Obsession" (2003), said in a phone interview.
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The essays here, on artists from Manet to the young New Yorker Avery Singer, propose that paintings convey "vitalistic fantasies," or imagined impressions of their creators; interviews with Jutta Koether, Wade Guyton and Charline von Heyl further her argument for painting's lifelikeness.
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Pirithous' fight for Helena. Woodcut by Richard Brend’amour after the sculpture by Joseph Echteler. In Munich he first became known as a portrait artist who created medaillons, reliefs and busts of famous stage artists, singers, artists, scholars, councillors, church dignitaries, diplomats, and royalty, after photographs. His work impressed by their great lifelikeness and careful execution.
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In 1013, the statues of several preceding emperors of the Song were cast in Jian'an () military prefecture. Thus, the region was changed into Zhenzhou (Zhen prefecture, ). Later, with the emperor's favor, a Taoist temple named Yizhen () was also built, at where the former furnace was situated. Both zhen and yizhen mean "lifelikeness" in Chinese.
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When The Learning Tree premiered at the Trans-Lux Theater in New York City on August 6, 1969, it was well-received by critics. Greenspun commented in his review that the scenes in the film took on a "kind of ceremonial vitality and lifelikeness". Parks and Guffey's strong attention to detail helped to make this film beloved and well-remembered to the American public. The Learning Tree was one of the first 25 films to be listed on National Film Registry when the registry was created in 1989.
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The colours applied on this horse further enhance the lifelikeness of the horse, making it look very similar to a real horse. The contrast of green against brown on this sculpture, directs the viewer's attention immediately to the elaborate harness on the horse, so that viewers would notice the distinctive decoration on this harness. The intricate details rendered on the horse's harness offers viewers an insight into the type of horse this sculpture is supposed to represent: a Ferghana horse from Central Asia. Ferghana horses were very commonly depicted in Tang dynasty tomb figures.
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Tomb figurines of the Tang dynasty were characterized by its wide variety, high quality, energy, performance and lifelikeness. The tomb figurines of Tang China were unprecedented – never before in Chinese history were the figurines endowed with such qualities. The pursuit of more and more vibrant colours led to the invention of the tri- colour glazing technique, or Sancai glaze, to further enhance the visual appearance of the figurines. This great emphasis on performance burial and extravagant tomb figurines in Tang China, is consistent with Tang China's opulent culture, media and arts.
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Verisimilitude is the "lifelikeness" or believability of a work of fiction. The word comes from meaning truth and similis meaning similar. Oxford English Dictionary Online, Second Edition 1989. Language philosopher Steve Neale distinguishes between two types: cultural verisimilitude, meaning plausibility of the fictional work within the cultural and/or historical context of the real world, outside of the work; and generic verisimilitude, meaning plausibility of a fictional work within the bounds of its own genre (so that, for example, characters regularly singing about their feelings is a believable action within the fictional universe of a musical).
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An iconography of a work of art is the analysis of the visual images and symbols employed. As an expressional subject matter, this figurine of a horse is depicted proportionally and realistically, with great attention paid to its anatomical accuracy, colour treatment, texture and embellishments. The high level of craftsmanship reflected on this sculpture demonstrate the lifelikeness and physical characteristics that this horse is supposed to embody: a handsome adult horse with an athletic body and a body of mane that is smooth, shiny and neat. Its posture is upright, its eyes are wide-opened and its head cocked at an angle that is upright but not facing upward.
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Otto writes that many people appreciate the lifelikeness and beauty of ancient Greek sculptures, yet will assess Greek religion as primitive or naturalistic, because they use oriental religions as the standard for measurement. Otto writes that the Greek religion should be examined on its own merits. Unlike Yahweh in the Old Testament, the gods in the Iliad and the Odyssey almost never perform miracles, but are present in experiences such as a clever thought, the awakening of enthusiasm and the ignition of courage. According to Otto, the Greek conception of divine power differed from the Asian in that it was not based on magical thinking, but saw the natural world in the light of the divine.
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There are, to be sure, some lovely long shots of Cuban villages and the colorful coast...But the main drama, that of the ordeal, is played in a studio tank, and even some fine shots of a marlin breaking the surface and shaking in violent battle are deflated by obvious showing on the process screen." The film has been described as the "most literal, word-for-word rendition of a written story ever filmed". Time noted that "the script follows the book in almost every detail", but called the novel a fable "no more suitable for the screen than The Love Song of J. Alfred Prufrock". Time pointed out that Tracy was "never permitted to catch a marlin" while on location, so the "camera could never catch him at it" and the result is "Sturges must cross-cut so interminably-- fish, Tracy, fish, Tracy--that Old Man loses the lifelikeness, the excitement, and above all the generosity of rhythm that the theme requires.
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She wishes to depict a situation that shall be convincing in its lifelikeness and verisimilitude. To this end, she summons all the resources of her own personal knowledge and observation, and employs all her powers of animated description. We know or may know the exact appearance of each of her multitudinous characters, the color and curl of the hair, the shape of the nose, lips, and chin, the poise of the head, the cut of the coat, the tone of the voice, and the thousand other details that set themselves together to make up the external personality. Not only this, but she reproduces with the minute exactness of a photograph all the topographical, botanical, and meteorological conditions of the moment in question—just how the road wound through the forest, how the river gleamed, how the shadows flitted, how the wistaria bloomed, the arbutus trailed, the magnolia breathed, the banana tree nodded; what streets were overflowed, what signs filled the shop windows, what portraits hung on the walls.
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