This imposing canvas adorned the hall of the Scuola Grande di San Marco in Venice, one of the most prestigious and powerful confraternities in the lagoon city.
It was commissioned from Gentile Bellini in 1504 but remained unfinished in 1507, at what stage is not known, due to the death of the master, and was completed by his brother Giovanni, commissioned to do so by Gentile's will.
In 1908, Carrà began to frequent the group of artists who would shortly afterwards give life to the Futurist movement, initiating a series of relationships that would lead him to travel to Paris in 1911.
On his return to Italy, Carrà was brought closer to the language of Metaphysical Art. A brief phase then began, represented by three paintings of 1917 (La musa metafisica, La camera incantata and Madre e figlio) in which the artist reinterpreted de Chirico's favourite objects - mannequins, toys, fish - in search of new relationships between space and volume, between colours and plastic structures.