The main contemporary philosophical trend developed in the strategies behind the supreme current national museum conceptions has been the need to symbolize diversity and launch regions of cultural dialogue. Before leading to new museums’ creation, this affinity was implemented to the eldest and most legendary of France’s national museums called the Louvre (Bodenstein, & Poulot, 2012). This museum is very famous worldwide and attracts numerous tourists from the whole world. The corresponding necessity of heritage and cultural industries, the polycentric or integrated association of the arts, and the social circulation of tastes and cultural involvement form parts of evolutive features that form particular national cultural strategies that have self-effects. In Europe, cultural activities have advanced in the recent past, impacting people’s life positively.

The Louvre is located at the Centre of the French capital city; the Louvre does demonstrate what Duncan and Wallach referred to as ‘Universal Survey Museum,’ which is a kind of museum which they categorize to be ‘not only the first insignificance but also the first museum kind which developed archaeologically and has been referred with the notion of the public art museum. Before it was launched, Diderot’s prominent Encyclopedia had devoted an article that the writer anticipated the ‘Louvre’ might develop. The association was the immediate, knowledgeable output of the Insight’s comprehensive opinion, as applied by the Revolution. Besides the Louvre had certainly been comprehended of in light of a comprehensive or collective opinion, some restrictions were present, the creations of French entertainers and national memorials which had no impact on the development of the assortments, nor did ‘exotic’ assemblies. The central pronunciation was, of course, generally positioned at Classical Antiquity and the Renaissance. Conversely, it comes to house France’s first public ethnographic, which happened in 1878, and Asia’s arts from the Second World War.

The Grand Louvre scheme and the highly contentious Pei pyramid, which was finalized in 1989, marking the bicentenary of the Revolution, aimed to transform the structure’s appearance, inaugurating it up to the city and the public in a drastic new technique. Its ‘universal’ task was strengthened by establishing the most current liberated branch of Islamic art (Yoshimura et al., 2019). Former president Jacques Chirac whole ruled between (1995–2007) advocated for this initiative by declaring his plan of strengthening the common vocation of the Louvre by offering the “unique support of the Islamic advancement to the course of global history. The saying that flourished was already the ‘dialogue des cultures,’ which emerged as the significant catchphrase of the musée du Quai Branly.

Managerially, this museum has developed to be a type of lasting antenna of the Musée du Quai Branly. Louvre has been placed firmly in association with its standards and its public image. It is motivating to contemplate this policy and separate the collections from the colonial perspective.

In conclusion, an excellent cultural policy should adhere to all appropriate social ethics to avoid conflict with society and the governing bodies. Museums are essential because they are the site for tourists’ attraction, and the government should protect them.

References

Bodenstein, F., & Poulot, D. (2012). From Politics to Policy: Two Decades of National Museum Development in France (1989–2012). Museum Policies in Europe 1990–2010: Negotiating Professional and Political Utopia, 13.

Yoshimura, Y., Sinatra, R., Krebs, A., & Ratti, C. (2019). Analysis of visitors’ mobility patterns through random walk in the Louvre Museum. Journal of Ambient Intelligence and Humanized Computing, 1–16.