We can see that the style is not physically 'real' enough, a.k.a. the degree to which a work resemble a photography, but it is, essentially, still a different approach to see and manipulate the vision of the visible world into an artwork.
Moving up the scale of materialistic representation, we have Stone-Breakers (Courbet, 1849) to the right, a Realist work. Not only was it Realist in the sense of truthfully portraying the everyday, ordinary life without all the ornament, prettification and romanticization of ideals, it is also Realist in the sense of replicating the materialistic reality: it seeks not to personalize reality anymore (as did Cubism, which literally broke it up), but instead, to make the work as "true-to-life" as possible. The shadows and light, the colors, the workers, the fabrics and their folds, grass, rocks, the ground are all painted in order for the artwork to come as close to reality as it is visually observed as possible. And now onto the extreme of physical replication. The artwork on the left, Painting of Tica (Blair, 2005), on the other hand, is a typical Photorealist work. Please note that the woman in the painting does not exist; she is imaginary. The painting was so close to physical reality that it is difficult to tell it from a photograph. Every shade and color, every line and shape, every piece of hair and square millimeter of skin are carefully painted to resemble a photograph of a real person as closely as possible. The harder a Photorealist work can be distinguished from a photograph, the more successful and recognized it is considered.
Those three examples provided a sufficiently generic view of the first category, the materialistic styles. They may be different in the how, but they are essentially the same in the what, which is to deliver and represent the vision of the visible, materialistic, physical reality, with or without personalization.