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These are the con-. Zmijewka, La Critique des Salons, pp. Might these Salon visitors be able to deflate the pretensions of patrons and painters because they have an alternative culture at their disposal? The Salon, in his conception, would be like an annual public audit of artistic productivity. There was no confident, open-handed state agency to bring it off and thus no possible return to the days when Colbert had put the Academy at the centre of a flourishing official culture.

The Museum of Contemporary Art

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The fundamental syn- thetic account of this literature has been Albert Dresdner, Die Entstehung der Kunstkritile, Munich, , pp. All are explicitly announced as the work of the same author. Nowhere in the extensive eighteenth-century literature on the Salon do we find this gap bridged; the disparity between a public evoked in abstract terms and an actual audience whose behavior can only be characterized as a collection of vagrant individual responses. This is to say that it could present no useful demands or criteria to which an artist could respond.

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