During the summer of 1907, in the midst of the last revisions he would make to Les Demoiselles d'Avignon, Picasso produced a related painting that features one of the figures from the larger painting, Nude with Drapery, illustrated below. This watercolor comes from a sketch book acquired and dismantled by Leo Stein who also owned the painting. The artist's final adjustment to Les Demoiselles was the repainting of the heads of the two right figures. In a decision that would accentuate the radical modernism of this epic work, the faces were changed to emphazsize the bold and abstracted features of African masks. The same features were incorporated in his watercolor for Nude with Drapery and were undoubtedly inspired by his first visits to the ethnographic collection at the Trocadero Museum in Paris in June and July 1907. Rather than using a single type of African mask as his prototype, such as the Kota Religtuary Figure illustrated below, Picasso seems to have incorporated an amalgam of features from different masks. A visit to the galleries of African art on the lower floor of the Museum provides the opportunity to see a variety of African masks in addition to the Kota figure, including examples from the Luba and Dan peoples. Picasso's radical composition where the diagonal fragmentation of the figure is so integrated into the background as to almost lose its independence, is said to be inspired by the legendary dances of the American performer, Loie Fuller. Picasso had seen her as Salome, a favorite subject for the artist, where 'Puller so expertly manipulated veils with canes that her figure seemed to disappear as it moved across a transparent stage lit from below by colored lights.