For two weeks in the spring of 1928 Miró visited Holland, where he fell in love with the intimate and minutely rendered realism of seventeenth-century Dutch genre paintings. He emulated aspects of them in a group of three canvases entitled Dutch Interiors I–III, which he painted in Paris that summer, using postcards of specific pictures as points of departure for a fantastic kind of organic surrealism. This painting, the next in sequence, together with a fifth, relates in style to this group, although it is not based on any particular picture.

Against a deep blue sky and above a patch of earth—perhaps a potato field—a gigantic female figure stretches her arms wide. The billowing white shape of the figure is attached to a red bar in the center of the composition like a scarecrow on a post. Elfin creatures, some of them winged, flutter in the sky. Miró endowed his merry "potato-earth-woman" with deft touches: one brown-and-black breast, which "squirts" a long, winding thread; a brown banana-shaped nose; what might indeed be a potato floating in the "cranium"; and, hovering on a stick at the right, a large flamelike rendering of a vagina.