God DWH you could be talking about livestock or vegetables there.
Unfortunately that is exactly the case, in the limited scope of what I am talking about, as consumption patterns trump all. Produce what the client wants is the Law for survival, same as any industry. Plenty of good photographers take photos they would prefer to take differently (or not at all) but if the magazines do not want the copy (magazines that women buy, not 'lad' mags) then the copy is not used. A commercial photographer has limited latitude- please the client or risk the contract.
What you link is fine art, which is great in a fine art magazine. Perhaps it might appear in a more regular womans magazine in one article in one month in a year. A Hero flag waving month of warts and all realism. There are volumes written about the 'realistic' marketing approach of Dove products. Why is there not more realist marketing like that? Because it is considered that Dove crafted the 'realist' niche and owns it and its not big enough for anyone else to market in it. Ultimately the images you link, while wonderful, are not images most women want to see regularly, otherwise magazines would be filled already with such images.
You mention livestock, to me its a pity that more cage eggs are sold than free range (which is what I buy). But if they sell more from a cage what is my relevance in society but as a minority consumer? What fast food outlet in the western world sells free range chicken with their chips?
In fine art photography almost anything is possible. You can see it in galleries and fine art magazines. But its also also interesting to me that what you link are labelled as 'paintings', not photos. The abstraction, relevance and meaning of the nude in painting (even photo realist painting) Vs photography and its attendant attitude of being 'much more real' is a huge book in itself. Did the artist make those paintings from a photograph? Why not simply use the photograph, too real for the tastes of viewers?
Also, another thing, is the difference between intent and context of the photographer and how the image is subsequently seen. Just because a photographer has context and intent for their image there is no connection inherent in how an audience will see it.