Ezra and Dorothy Pound moved into the studio apartment at 70 rue Notre-Dames-des-Champs in December 1921. He had studied many of the Japanese plays -- particularly the Noh -- whilst living with W.B. Yeats in Sussex, England between 1914-1915. Having developed an early admiration for the older poet, he had taken a post as his secretary. Amongst their various fascinations, the pair shared a common curiosity regarding the literary and cultural history of Japan. Pound, who had agreed to become the literary executor of American Orientalist Ernest Francisco Fenollosa (1853-1908) at the request of his widow, was then in receipt of much of the academic's notes, the influence of which would be felt both in Ezra's following works and the repercussions these had on modernism.
Pound's interest in Japan would be an enduring one. When he moved into the Notre-Dames-des-Champs apartment, he took with him a large canvas by Tami Kaume. Pound's daughter, Mary 'Marcher' -- actually born (1925) to mistress Olga Rudge-- later interpreted its puzzling brush strokes as representing 'chaos, the universe or the torso of a giant, crucified.' (James J. Wilhelm, Ezra Pound: The Tragic Years, 1925-1972, p. 74)