| U listopadu 1937. |
In October 1937 |
| godine Picasso crta sliku "Žena koja plače". |
Picasso painted a canvas The Weeping Woman. |
| Patnja kao aktualna tema umjetničkog djela sažeta je u prikazu jednog jedinog lika promatranog iz neposredne blizine. |
Suffering as a current theme of the art work is summarized in a depiction of one character viewed from immediate proximity. |
| Na prvi pogled slikom dominiraju brojni, čisto slikarski elementi: šarena pozadina, žena na slici ima moderan ljetni šešir, lice joj je prikazano istodobno en face i iz profila, metodom koja nam je već otprije poznata. |
At first glance, numerous, purely painting elements dominate: colourful background, woman in the painting wears a modern hat, her face is shown simultaneously en face and from the side, by method already known from before. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. |
But, however we view it, the centre of the painting occupies the handkerchief which is a metafore of the suffering. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. |
The woman in her despair is clutching is with her teeth, as though she is biting it, while the rain of unstoppable tears falls from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. |
It seems as though the woman's fingernails will turn to tears in the moment they got wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. |
The handkerchief as a veil covers her mouth, at the same time revealing the horror of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. |
The relationship of the woman's face and the handkerchief is summarizing the whole tragedy of her suffering. |
| Ovaj put kao da je Picasso otišao predaleko sa svojim ambicijama. |
This time, it looks as Picasso went too far with his ambitions. |
| Najvažniji element njegovih kubističkih djela, primjerice, bio je kontrast između svagdašnje teme i razorene forme kojom se priopćuje. |
The most important element of his cubist works, for example, was the contrast between an everyday theme and a broken form by which it is depicted. |
| Sad je razaranje udvostručeno. |
Now the destruction is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. |
The broken form, the characteristic of Picasso's work, now carries the idea of destruction, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. |
This procedure can be called tautological, it will mark several paintings Painted by Picasso at that time. |
