I think that every film school had unique tendencies depending on who was in charge and who he hired to teach. Some schools emphasized Hollywood directors more than the one you attended (I base this comment on the European slant you remember at your school). Andrew Sarris' 1968 book "The American Cinema" was a major influence on how different directors were regarded.

As far as Wyler and realism, he is associated with a technique considered realistic because it replicates characteristics of human vision: deep-focus cinematography (Shots with a large depth of field). The DP most associated with deep-focus in Hollywood was, as you know, Greg Toland. He lensed 6 films for Wyler. It's interesting to note that after Toland died, Wyler's films continue to use the same technique consistently (see "The Heiress", "Carrie", etc.), no matter who was the DP. So that, I think, it's fair to associate this realistic rendering of the space in front of the camera as being also characteristic of Wyler. It's the most important aspect of the realistic aesthetic you rightfully ascribe to Wyler.