Brooklyn Museum Quarterly . organizationin matters of art is widely and almost universally contrasted Avith the gallery of the Louvre, which iswholly historic in its selections, and which does not admitthe work of any French artist until at least ten years afterhis deatli, the I^uxembourg is the gallery of State recogni-tion for living artists, but naturally only for those who haveachieved a very solid academic fame and position, or at leasta very influential critical approval. By virtue of its rela-tions to the state the Luxembourg is inevitably and naturallya conservative institutio
Brooklyn Museum Quarterly . organizationin matters of art is widely and almost universally contrasted Avith the gallery of the Louvre, which iswholly historic in its selections, and which does not admitthe work of any French artist until at least ten years afterhis deatli, the I^uxembourg is the gallery of State recogni-tion for living artists, but naturally only for those who haveachieved a very solid academic fame and position, or at leasta very influential critical approval. By virtue of its rela-tions to the state the Luxembourg is inevitably and naturallya conservative institution, and consequently academic in itstraditions and general character. On the other hand, itsmission is also to recognize new men of great talent, butnot too hastily. The Luxembourg does not anticipate awell established critical verdict. It does not folknv or imi-tate the first daring critic who is willing to stand alone andstake his reputation for sagacity on the prophecy of a futureand still unachieved popular success. 114. THE CATHEDRAL CLAUDE OSCAR MONET In the Retrospective Collection of French Art, 1870-1910, at the Brooklyn MuseumLent by the French Government
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