 Realism in technique is a different phenomenon, which can be traced back to the revolutionary developments in Greek art between the sixth and fourth centuries BC, specifically, developments in anatomy and in the representation of space and light. Since philosophers and art theorists abandoned the idea that realism can be defined in terms of fidelity to nature or resemblance, most of those who do not regard realism as a purely ideological concept or a sham (e.g., Stewart 1997; Neer 2002) have defined realism in technique in terms of information: either the quantity of information recorded in a picture (Gombrich 1960; Schier 1986), or the quantity of relevant or visually salient information (Lopes 1996; Sartwell 1994; Abell 2006, 2007; Kulvicki 2006), or the ease with which information issues (Goodman 1968), or the range of information (Hyman 2005), is said to be the, or the principal, measure of realistic art. (See also Walton 1990; Chasid 2007; and Newall 2011 for comparable views.)