| U listopadu 1937. |
In October of 1937 |
| godine Picasso crta sliku "Žena koja plače". |
Picasso created the 'Weeping Woman' painting. |
| Patnja kao aktualna tema umjetničkog djela sažeta je u prikazu jednog jedinog lika promatranog iz neposredne blizine. |
Suffering, as the actual theme of the artwork, is epitomized within a single character, observed in close 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, the painting is dominated by multiple, purely pictorial elements: colorful background, the woman in the painting is wearing a modern summer hat, her face is depicted simultaneously en face and in profile, using the method with which we are already familiar. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. |
However, whichever angle we view it from, the central point of the painting is occupied by the handkerchief, which represents a metaphor of 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, pulls it with her teeth, seemingly biting it, while her unstoppable tears rain down upon it from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. |
It seems as if the woman's nails would also turn into tears the moment they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. |
The handkerchief hides her mouth like a veil, while at the same time revealing the horror of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. |
The relation between the woman's face and the handkerchief summarizes the entire tragedy of her suffering. |
| Ovaj put kao da je Picasso otišao predaleko sa svojim ambicijama. |
This time it seems as if 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 the everyday theme and the shattered form in which it was depicted. |
| Sad je razaranje udvostručeno. |
Now the shattering is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. |
The shattered form, a characteristic of Picasso's work, now also carries the idea of shattering, fragmenting, and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. |
This process might be called tautological, and it marks multiple paintings Picasso created during that time. |
