And even the middle path of a realist who often struggles with trying to be hopeful in the face of brutal facts.
First, reductive realists often appealed to various forms of an infinite regress argument to support their position.
Those who object to what they call "interference" in the affairs of others — today's realists — often cite the words of John Quincy Adams, who in 1821 said that America stands with those who seek freedom and independence, "but she goes not abroad, in search of monsters to destroy".
Naturalistic realists often do as well.
His canvases remained social-realist, often with defiant political messages, like that of Jack Butler Yeats's painting in Gallery G -- abstractions like Kandinsky's, in his view, would not help the downtrodden workingman.
His great New York movies of the 1970s and '80s — "Serpico," "Dog Day Afternoon," "Prince of the City," "Q & A" — were realist fables, often based on true stories and always full of dense local knowledge.
Even Ronald Reagan, deemed generally a realist in foreign policy, often resorted to the language of human rights -- the concept of democracy versus tyranny -- in waging the cold war.
She is an utterly convincing child, an optimistic realist who often misunderstands the facts but rarely fails to grasp an emotional truth.
Kiarostami created a realist-parable cinema, often about the innocent world of children.
We increasingly seek more complex and subtle imaginative explorations of identity than societal expectations of gender – and a "realist" elaboration of personality – have often allowed; if we have long accepted that identity is fluid and shifting, it has perhaps taken more time to appreciate that it deserves a similarly sophisticated expression in art.
