Portrait No. 1 depicts a monstrous female figure with an enormous head that seems to advance and loom over the viewer. The face is mask-like, adorned with a small bird’s head and beak, above, as well as eyes that double as breasts. Such bold combinations of diverse elements suggest Miró’s awareness of African masks, probably from the French colonies. Such works were widely trafficked among modern European artists--Expressionists and Surrealists alike--especially in Paris, where Miró maintained a studio for many years. Although the figure is painted, Miró explicitly references collage as is evident in his use of seemingly cut and assembled hard edged shapes. This painting is the first in a series of four portraits Miró created while living in exile in France during the Spanish Civil War. General Francisco Franco and the fascist forces were poised for victory, and as a supporter of the Republican cause, Miró found life exceedingly grim. This may account for the sinister quality of Portrait No. 1. The black figure appears to wear a red and yellow ribbon in her hair—perhaps a reference to the colors of the Spanish flag.