Puccini once showed a friend a French lithograph of a nude girl pressedagainst a grated window in Venice. "This," he said, "is the kind oflibretto I want for my next opera." Failing in his lifelong search fora girl who combined frailness with sensuality, he built those qualitiesinto a procession of operatic heroines — Manon Lescaut, Mimi inBohme, Cio-Cio-San in Butterfly, Li in Turandot. His obsession withswift love followed by swifter death gave his work a narrow emotionalrange, a failing of which he was conscious. He envied Wagner his heroicthemes and majestic brasses, idolized Verdi's poetic tragedies, inlater life even made an effort to understand the moderns (although onfirst hearing he thought Stravinsky's Sacre du Printemps "the creationof a madman").

Under the brush of painter Paula Modersohn-Becker (1876-1907) the nude became a pictorial subject in its own right. In her portraits of nude women and children she evoked motherhood, stripped of any mythological pretext, as well as in a famous 1906 painting where she herself appears pregnant, becoming a pioneer of the nude female self-portrait. Pan Yuliang (1899-1977) devoted herself to the same subject, exploring themes of female bathers and indoor nudes. Many of her drawings share an erotic connotation that was scandalous during her lifetime and considered inappropriate for women.

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