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Art lovers rejoice: the National Gallery can finally show us when painting really gets exciting | Rhiannon Lucy Cosslett

Curators can now chart the seismic shifts in 20th-century art – and include more works by women and artists of colourSign up for our new weekly newsletter Matters of Opinion, where our columnists and writers will reflect on what they’ve been debating, thinking about, reading and moreOne of my favourite paintings in the National Gallery’s collection technically breaks the rules: Paul Cézanne’s Bathers (Les Grandes Baigneuses) was painted in the last decade of his life, its date given as about 1894-1905. It was probably finished after the gallery’s cut-off date of 1900, a cut-off the gallery has just announced it will be jettisoning.To say that I am pleased is an understatement. It always struck me as bizarre that the end date occurs just at the exact point in history when painting is about to become very interesting. Just look at the Baigneuses and what they represent: the leap towards abstraction in the representation of the human form; the composition and its unidentifiable, but un...


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