As detailed in a letter dated June 25, 1958, Le Corbusier conveyed that the genesis of the 'Bulls' series stemmed from a vertical painting dating back to 1920, portraying a still life with a violin, which was later observed horizontally in a photograph. Over three decades, as the artist's mind became engrossed in diverse pursuits, particularly exploring the potential of incorporating human figures to craft a "bestiary," a gradual evolution led to the emergence of successive deformations. Eventually, seemingly beyond conscious control, the image of a bull asserted itself on the canvases. This marked the inception of the theme's development, spanning Bulls VIII to XIII approximately. Subsequently, a transformative shift in sensibility towards the theme transpired, accompanied by a reconfiguration of the painting's elements.

In the 1950s, Le Corbusier, enthralled by the subject, furthered his artistic exploration of bulls. This period coincided with his commission in Chandigarh, where the mingling of people and cattle in the vibrant streets might have profoundly shaped his creative perspective. In the venerable tapestry of India's cultural heritage, bulls and cattle have been revered since the Indus Valley Civilization around 2000 BC, symbolizing strength and fertility across this ancient land, as well as resonating in civilizations like Egypt and Greece. Notably, he frequently employed the infinity symbol for the bull's eyes and nostrils, evoking a subtle connection to ancient mythology, particularly the enigmatic labyrinth of the Minotaur.