Yet one may be a great artist without doing that.
There was nothing revolutionary about Sebastian Bach with his two hundred and fifty cantatas, which were performed as fast as they were written and which were constantly in demand for important occasions.
Handel managed the theater where his operas were produced and his oratorios were sung, and they would have indubitably failed, if he had gone against the accustomed taste of his audiences.

Haydn wrote to supply the music for Prince Esterhazy's chapel; Mozart was forced to write constantly, and Rossini worked for an intolerant public which would not have allowed one of his operas to be played, if the overture did not contain the great _crescendo_ for which he has been so reproached.

These were none of them revolutionists, yet they were great musicians.
Another criticism is made against Massenet.

He was superficial, they say, and lacked depth.

Depth, as we know, is very much the fashion.
It is true that Massenet was not profound, but that is of little consequence.