| U listopadu 1937. |
In October 1937. |
| godine Picasso crta sliku "Žena koja plače". |
Picasso paints the painting "Woman that cries". |
| Patnja kao aktualna tema umjetničkog djela sažeta je u prikazu jednog jedinog lika promatranog iz neposredne blizine. |
Agony as a current motive of artwork is summed in displaying just one character that is observed from the 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. |
On the first look the painting is dominated by numerous, purely painters' elements: vivid background, women on the picture has a modern summer hat, her face is shown both facing and in the side-view with a method that is already known. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. |
But, no matter how we look at it, the center of the painting is the handkerchief that is representing agony. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. |
Women is stretching it in her despair and as if she is biting it, while a rain of unstoppable tears falls on it from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. |
It seems like the woman's nails will both turn into tears the moment they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. |
The handkerchief covers her mouth like a veil and at the same time displays the terror of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. |
The relation between the woman's face and the handkerchief sums the whole tragedy of her agony. |
| Ovaj put kao da je Picasso otišao predaleko sa svojim ambicijama. |
It appears as if Picasso had gone 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 was, for example, an opposition between the everyday topic and the demolished form by which it is disclosed. |
| Sad je razaranje udvostručeno. |
Now the demolishing is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. |
The demolished form, the characteristic of Picasso's works now bears and the idea of demolishing, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. |
This approach can be called tautological, it will mark several Picasso's works from that era. |
