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Przykładowe tłumaczenie Art
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| Tekst źródłowy (Croatian) | Tekst docelowy (English) |
|---|---|
| U listopadu 1937. | In October 1937. |
| godine Picasso crta sliku "Žena koja plače". | year Picasso painter the painting "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 artwork is summed up in the depiction of a single character observed from close range. |
| 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 picture is dominated by numerous, purely painterly elements: a colorful background, the woman in the picture has a modern summer hat, her face is shown both en face and in profile, using the method we are already familiar with. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. | But, no matter how you look at it, the center of the picture is occupied by a handkerchief, which is a metaphor for suffering. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. | In her despair, the woman clenches her teeth and seems to bite him , while unstoppable tears fall on him from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. | It seems as if even a woman's nails will turn to tears in the moment when they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. | A handkerchief hides her mouth like a veil, revealing the same time the chill of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. | The relationship 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 that 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 broken form that communicates it. |
| Sad je razaranje udvostručeno. | Now the destruction is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. | The destroyed form, characteristic of Picasso's work, now also carries the idea of destruction, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. | We can call this procedure tautological, it will characterize many of the paintings that Picasso creates at that time. |
| U listopadu 1937. | In October 1937. |
| godine Picasso crta sliku "Žena koja plače". | year Picasso painter the painting "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 artwork is summed up in the depiction of a single character observed from close range. |
| 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 picture is dominated by numerous, purely painterly elements: a colorful background, the woman in the picture has a modern summer hat, her face is shown both en face and in profile, using the method we are already familiar with. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. | But, no matter how you look at it, the center of the picture is occupied by a handkerchief, which is a metaphor for suffering. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. | In her despair, the woman clenches her teeth and seems to bite him , while unstoppable tears fall on him from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. | It seems as if even a woman's nails will turn to tears in the moment when they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. | A handkerchief hides her mouth like a veil, revealing the same time the chill of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. | The relationship 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 that 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 broken form that communicates it. |
| Sad je razaranje udvostručeno. | Now the destruction is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. | The destroyed form, characteristic of Picasso's work, now also carries the idea of destruction, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. | We can call this procedure tautological, it will characterize many of the paintings that Picasso creates at that time. |
| U listopadu 1937. | In October 1937. |
| godine Picasso crta sliku "Žena koja plače". | year Picasso painter the painting "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 artwork is summed up in the depiction of a single character observed from close range. |
| 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 picture is dominated by numerous, purely painterly elements: a colorful background, the woman in the picture has a modern summer hat, her face is shown both en face and in profile, using the method we are already familiar with. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. | But, no matter how you look at it, the center of the picture is occupied by a handkerchief, which is a metaphor for suffering. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. | In her despair, the woman clenches her teeth and seems to bite him , while unstoppable tears fall on him from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. | It seems as if even a woman's nails will turn to tears in the moment when they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. | A handkerchief hides her mouth like a veil, revealing the same time the chill of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. | The relationship 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 that 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 broken form that communicates it. |
| Sad je razaranje udvostručeno. | Now the destruction is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. | The destroyed form, characteristic of Picasso's work, now also carries the idea of destruction, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. | We can call this procedure tautological, it will characterize many of the paintings that Picasso creates at that time. |
| U listopadu 1937. | In October 1937. |
| godine Picasso crta sliku "Žena koja plače". | year Picasso painter the painting "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 artwork is summed up in the depiction of a single character observed from close range. |
| 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 picture is dominated by numerous, purely painterly elements: a colorful background, the woman in the picture has a modern summer hat, her face is shown both en face and in profile, using the method we are already familiar with. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. | But, no matter how you look at it, the center of the picture is occupied by a handkerchief, which is a metaphor for suffering. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. | In her despair, the woman clenches her teeth and seems to bite him , while unstoppable tears fall on him from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. | It seems as if even a woman's nails will turn to tears in the moment when they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. | A handkerchief hides her mouth like a veil, revealing the same time the chill of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. | The relationship 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 that 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 broken form that communicates it. |
| Sad je razaranje udvostručeno. | Now the destruction is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. | The destroyed form, characteristic of Picasso's work, now also carries the idea of destruction, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. | We can call this procedure tautological, it will characterize many of the paintings that Picasso creates at that time. |
| U listopadu 1937. | In October 1937. |
| godine Picasso crta sliku "Žena koja plače". | year Picasso painter the painting "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 artwork is summed up in the depiction of a single character observed from close range. |
| 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 picture is dominated by numerous, purely painterly elements: a colorful background, the woman in the picture has a modern summer hat, her face is shown both en face and in profile, using the method we are already familiar with. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. | But, no matter how you look at it, the center of the picture is occupied by a handkerchief, which is a metaphor for suffering. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. | In her despair, the woman clenches her teeth and seems to bite him , while unstoppable tears fall on him from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. | It seems as if even a woman's nails will turn to tears in the moment when they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. | A handkerchief hides her mouth like a veil, revealing the same time the chill of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. | The relationship 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 that 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 broken form that communicates it. |
| Sad je razaranje udvostručeno. | Now the destruction is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. | The destroyed form, characteristic of Picasso's work, now also carries the idea of destruction, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. | We can call this procedure tautological, it will characterize many of the paintings that Picasso creates at that time. |
| U listopadu 1937. | In October 1937. |
| godine Picasso crta sliku "Žena koja plače". | year Picasso painter the painting "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 artwork is summed up in the depiction of a single character observed from close range. |
| 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 picture is dominated by numerous, purely painterly elements: a colorful background, the woman in the picture has a modern summer hat, her face is shown both en face and in profile, using the method we are already familiar with. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. | But, no matter how you look at it, the center of the picture is occupied by a handkerchief, which is a metaphor for suffering. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. | In her despair, the woman clenches her teeth and seems to bite him , while unstoppable tears fall on him from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. | It seems as if even a woman's nails will turn to tears in the moment when they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. | A handkerchief hides her mouth like a veil, revealing the same time the chill of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. | The relationship 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 that 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 broken form that communicates it. |
| Sad je razaranje udvostručeno. | Now the destruction is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. | The destroyed form, characteristic of Picasso's work, now also carries the idea of destruction, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. | We can call this procedure tautological, it will characterize many of the paintings that Picasso creates at that time. |
| U listopadu 1937. | In October 1937. |
| godine Picasso crta sliku "Žena koja plače". | year Picasso painter the painting "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 artwork is summed up in the depiction of a single character observed from close range. |
| 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 picture is dominated by numerous, purely painterly elements: a colorful background, the woman in the picture has a modern summer hat, her face is shown both en face and in profile, using the method we are already familiar with. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. | But, no matter how you look at it, the center of the picture is occupied by a handkerchief, which is a metaphor for suffering. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. | In her despair, the woman clenches her teeth and seems to bite him , while unstoppable tears fall on him from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. | It seems as if even a woman's nails will turn to tears in the moment when they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. | A handkerchief hides her mouth like a veil, revealing the same time the chill of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. | The relationship 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 that 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 broken form that communicates it. |
| Sad je razaranje udvostručeno. | Now the destruction is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. | The destroyed form, characteristic of Picasso's work, now also carries the idea of destruction, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. | We can call this procedure tautological, it will characterize many of the paintings that Picasso creates at that time. |
| U listopadu 1937. | In October 1937. |
| godine Picasso crta sliku "Žena koja plače". | year Picasso painter the painting "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 artwork is summed up in the depiction of a single character observed from close range. |
| 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 picture is dominated by numerous, purely painterly elements: a colorful background, the woman in the picture has a modern summer hat, her face is shown both en face and in profile, using the method we are already familiar with. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. | But, no matter how you look at it, the center of the picture is occupied by a handkerchief, which is a metaphor for suffering. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. | In her despair, the woman clenches her teeth and seems to bite him , while unstoppable tears fall on him from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. | It seems as if even a woman's nails will turn to tears in the moment when they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. | A handkerchief hides her mouth like a veil, revealing the same time the chill of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. | The relationship 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 that 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 broken form that communicates it. |
| Sad je razaranje udvostručeno. | Now the destruction is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. | The destroyed form, characteristic of Picasso's work, now also carries the idea of destruction, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. | We can call this procedure tautological, it will characterize many of the paintings that Picasso creates at that time. |
| U listopadu 1937. | In October 1937. |
| godine Picasso crta sliku "Žena koja plače". | year Picasso painter the painting "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 artwork is summed up in the depiction of a single character observed from close range. |
| 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 picture is dominated by numerous, purely painterly elements: a colorful background, the woman in the picture has a modern summer hat, her face is shown both en face and in profile, using the method we are already familiar with. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. | But, no matter how you look at it, the center of the picture is occupied by a handkerchief, which is a metaphor for suffering. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. | In her despair, the woman clenches her teeth and seems to bite him , while unstoppable tears fall on him from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. | It seems as if even a woman's nails will turn to tears in the moment when they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. | A handkerchief hides her mouth like a veil, revealing the same time the chill of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. | The relationship 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 that 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 broken form that communicates it. |
| Sad je razaranje udvostručeno. | Now the destruction is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. | The destroyed form, characteristic of Picasso's work, now also carries the idea of destruction, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. | We can call this procedure tautological, it will characterize many of the paintings that Picasso creates at that time. |
| U listopadu 1937. | In October 1937. |
| godine Picasso crta sliku "Žena koja plače". | year Picasso painter the painting "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 artwork is summed up in the depiction of a single character observed from close range. |
| 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 picture is dominated by numerous, purely painterly elements: a colorful background, the woman in the picture has a modern summer hat, her face is shown both en face and in profile, using the method we are already familiar with. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. | But, no matter how you look at it, the center of the picture is occupied by a handkerchief, which is a metaphor for suffering. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. | In her despair, the woman clenches her teeth and seems to bite him , while unstoppable tears fall on him from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. | It seems as if even a woman's nails will turn to tears in the moment when they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. | A handkerchief hides her mouth like a veil, revealing the same time the chill of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. | The relationship 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 that 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 broken form that communicates it. |
| Sad je razaranje udvostručeno. | Now the destruction is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. | The destroyed form, characteristic of Picasso's work, now also carries the idea of destruction, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. | We can call this procedure tautological, it will characterize many of the paintings that Picasso creates at that time. |
| U listopadu 1937. | In October 1937. |
| godine Picasso crta sliku "Žena koja plače". | year Picasso painter the painting "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 artwork is summed up in the depiction of a single character observed from close range. |
| 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 picture is dominated by numerous, purely painterly elements: a colorful background, the woman in the picture has a modern summer hat, her face is shown both en face and in profile, using the method we are already familiar with. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. | But, no matter how you look at it, the center of the picture is occupied by a handkerchief, which is a metaphor for suffering. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. | In her despair, the woman clenches her teeth and seems to bite him , while unstoppable tears fall on him from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. | It seems as if even a woman's nails will turn to tears in the moment when they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. | A handkerchief hides her mouth like a veil, revealing the same time the chill of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. | The relationship 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 that 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 broken form that communicates it. |
| Sad je razaranje udvostručeno. | Now the destruction is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. | The destroyed form, characteristic of Picasso's work, now also carries the idea of destruction, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. | We can call this procedure tautological, it will characterize many of the paintings that Picasso creates at that time. |
| U listopadu 1937. | In October 1937. |
| godine Picasso crta sliku "Žena koja plače". | year Picasso painter the painting "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 artwork is summed up in the depiction of a single character observed from close range. |
| 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 picture is dominated by numerous, purely painterly elements: a colorful background, the woman in the picture has a modern summer hat, her face is shown both en face and in profile, using the method we are already familiar with. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. | But, no matter how you look at it, the center of the picture is occupied by a handkerchief, which is a metaphor for suffering. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. | In her despair, the woman clenches her teeth and seems to bite him , while unstoppable tears fall on him from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. | It seems as if even a woman's nails will turn to tears in the moment when they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. | A handkerchief hides her mouth like a veil, revealing the same time the chill of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. | The relationship 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 that 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 broken form that communicates it. |
| Sad je razaranje udvostručeno. | Now the destruction is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. | The destroyed form, characteristic of Picasso's work, now also carries the idea of destruction, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. | We can call this procedure tautological, it will characterize many of the paintings that Picasso creates at that time. |
| U listopadu 1937. | In October 1937. |
| godine Picasso crta sliku "Žena koja plače". | year Picasso painter the painting "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 artwork is summed up in the depiction of a single character observed from close range. |
| 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 picture is dominated by numerous, purely painterly elements: a colorful background, the woman in the picture has a modern summer hat, her face is shown both en face and in profile, using the method we are already familiar with. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. | But, no matter how you look at it, the center of the picture is occupied by a handkerchief, which is a metaphor for suffering. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. | In her despair, the woman clenches her teeth and seems to bite him , while unstoppable tears fall on him from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. | It seems as if even a woman's nails will turn to tears in the moment when they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. | A handkerchief hides her mouth like a veil, revealing the same time the chill of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. | The relationship 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 that 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 broken form that communicates it. |
| Sad je razaranje udvostručeno. | Now the destruction is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. | The destroyed form, characteristic of Picasso's work, now also carries the idea of destruction, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. | We can call this procedure tautological, it will characterize many of the paintings that Picasso creates at that time. |
| U listopadu 1937. | In October 1937. |
| godine Picasso crta sliku "Žena koja plače". | year Picasso painter the painting "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 artwork is summed up in the depiction of a single character observed from close range. |
| 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 picture is dominated by numerous, purely painterly elements: a colorful background, the woman in the picture has a modern summer hat, her face is shown both en face and in profile, using the method we are already familiar with. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. | But, no matter how you look at it, the center of the picture is occupied by a handkerchief, which is a metaphor for suffering. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. | In her despair, the woman clenches her teeth and seems to bite him , while unstoppable tears fall on him from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. | It seems as if even a woman's nails will turn to tears in the moment when they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. | A handkerchief hides her mouth like a veil, revealing the same time the chill of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. | The relationship 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 that 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 broken form that communicates it. |
| Sad je razaranje udvostručeno. | Now the destruction is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. | The destroyed form, characteristic of Picasso's work, now also carries the idea of destruction, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. | We can call this procedure tautological, it will characterize many of the paintings that Picasso creates at that time. |
| U listopadu 1937. | In October 1937. |
| godine Picasso crta sliku "Žena koja plače". | year Picasso painter the painting "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 artwork is summed up in the depiction of a single character observed from close range. |
| 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 picture is dominated by numerous, purely painterly elements: a colorful background, the woman in the picture has a modern summer hat, her face is shown both en face and in profile, using the method we are already familiar with. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. | But, no matter how you look at it, the center of the picture is occupied by a handkerchief, which is a metaphor for suffering. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. | In her despair, the woman clenches her teeth and seems to bite him , while unstoppable tears fall on him from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. | It seems as if even a woman's nails will turn to tears in the moment when they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. | A handkerchief hides her mouth like a veil, revealing the same time the chill of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. | The relationship 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 that 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 broken form that communicates it. |
| Sad je razaranje udvostručeno. | Now the destruction is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. | The destroyed form, characteristic of Picasso's work, now also carries the idea of destruction, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. | We can call this procedure tautological, it will characterize many of the paintings that Picasso creates at that time. |
| U listopadu 1937. | In October 1937. |
| godine Picasso crta sliku "Žena koja plače". | year Picasso painter the painting "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 artwork is summed up in the depiction of a single character observed from close range. |
| 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 picture is dominated by numerous, purely painterly elements: a colorful background, the woman in the picture has a modern summer hat, her face is shown both en face and in profile, using the method we are already familiar with. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. | But, no matter how you look at it, the center of the picture is occupied by a handkerchief, which is a metaphor for suffering. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. | In her despair, the woman clenches her teeth and seems to bite him , while unstoppable tears fall on him from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. | It seems as if even a woman's nails will turn to tears in the moment when they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. | A handkerchief hides her mouth like a veil, revealing the same time the chill of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. | The relationship 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 that 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 broken form that communicates it. |
| Sad je razaranje udvostručeno. | Now the destruction is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. | The destroyed form, characteristic of Picasso's work, now also carries the idea of destruction, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. | We can call this procedure tautological, it will characterize many of the paintings that Picasso creates at that time. |
| U listopadu 1937. | In October 1937. |
| godine Picasso crta sliku "Žena koja plače". | year Picasso painter the painting "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 artwork is summed up in the depiction of a single character observed from close range. |
| 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 picture is dominated by numerous, purely painterly elements: a colorful background, the woman in the picture has a modern summer hat, her face is shown both en face and in profile, using the method we are already familiar with. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. | But, no matter how you look at it, the center of the picture is occupied by a handkerchief, which is a metaphor for suffering. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. | In her despair, the woman clenches her teeth and seems to bite him , while unstoppable tears fall on him from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. | It seems as if even a woman's nails will turn to tears in the moment when they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. | A handkerchief hides her mouth like a veil, revealing the same time the chill of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. | The relationship 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 that 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 broken form that communicates it. |
| Sad je razaranje udvostručeno. | Now the destruction is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. | The destroyed form, characteristic of Picasso's work, now also carries the idea of destruction, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. | We can call this procedure tautological, it will characterize many of the paintings that Picasso creates at that time. |
| U listopadu 1937. | In October 1937. |
| godine Picasso crta sliku "Žena koja plače". | year Picasso painter the painting "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 artwork is summed up in the depiction of a single character observed from close range. |
| 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 picture is dominated by numerous, purely painterly elements: a colorful background, the woman in the picture has a modern summer hat, her face is shown both en face and in profile, using the method we are already familiar with. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. | But, no matter how you look at it, the center of the picture is occupied by a handkerchief, which is a metaphor for suffering. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. | In her despair, the woman clenches her teeth and seems to bite him , while unstoppable tears fall on him from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. | It seems as if even a woman's nails will turn to tears in the moment when they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. | A handkerchief hides her mouth like a veil, revealing the same time the chill of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. | The relationship 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 that 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 broken form that communicates it. |
| Sad je razaranje udvostručeno. | Now the destruction is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. | The destroyed form, characteristic of Picasso's work, now also carries the idea of destruction, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. | We can call this procedure tautological, it will characterize many of the paintings that Picasso creates at that time. |
| U listopadu 1937. | In October 1937. |
| godine Picasso crta sliku "Žena koja plače". | year Picasso painter the painting "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 artwork is summed up in the depiction of a single character observed from close range. |
| 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 picture is dominated by numerous, purely painterly elements: a colorful background, the woman in the picture has a modern summer hat, her face is shown both en face and in profile, using the method we are already familiar with. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. | But, no matter how you look at it, the center of the picture is occupied by a handkerchief, which is a metaphor for suffering. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. | In her despair, the woman clenches her teeth and seems to bite him , while unstoppable tears fall on him from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. | It seems as if even a woman's nails will turn to tears in the moment when they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. | A handkerchief hides her mouth like a veil, revealing the same time the chill of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. | The relationship 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 that 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 broken form that communicates it. |
| Sad je razaranje udvostručeno. | Now the destruction is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. | The destroyed form, characteristic of Picasso's work, now also carries the idea of destruction, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. | We can call this procedure tautological, it will characterize many of the paintings that Picasso creates at that time. |
| U listopadu 1937. | In October 1937. |
| godine Picasso crta sliku "Žena koja plače". | year Picasso painter the painting "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 artwork is summed up in the depiction of a single character observed from close range. |
| 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 picture is dominated by numerous, purely painterly elements: a colorful background, the woman in the picture has a modern summer hat, her face is shown both en face and in profile, using the method we are already familiar with. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. | But, no matter how you look at it, the center of the picture is occupied by a handkerchief, which is a metaphor for suffering. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. | In her despair, the woman clenches her teeth and seems to bite him , while unstoppable tears fall on him from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. | It seems as if even a woman's nails will turn to tears in the moment when they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. | A handkerchief hides her mouth like a veil, revealing the same time the chill of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. | The relationship 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 that 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 broken form that communicates it. |
| Sad je razaranje udvostručeno. | Now the destruction is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. | The destroyed form, characteristic of Picasso's work, now also carries the idea of destruction, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. | We can call this procedure tautological, it will characterize many of the paintings that Picasso creates at that time. |
| U listopadu 1937. | In October 1937. |
| godine Picasso crta sliku "Žena koja plače". | year Picasso painter the painting "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 artwork is summed up in the depiction of a single character observed from close range. |
| 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 picture is dominated by numerous, purely painterly elements: a colorful background, the woman in the picture has a modern summer hat, her face is shown both en face and in profile, using the method we are already familiar with. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. | But, no matter how you look at it, the center of the picture is occupied by a handkerchief, which is a metaphor for suffering. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. | In her despair, the woman clenches her teeth and seems to bite him , while unstoppable tears fall on him from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. | It seems as if even a woman's nails will turn to tears in the moment when they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. | A handkerchief hides her mouth like a veil, revealing the same time the chill of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. | The relationship 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 that 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 broken form that communicates it. |
| Sad je razaranje udvostručeno. | Now the destruction is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. | The destroyed form, characteristic of Picasso's work, now also carries the idea of destruction, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. | We can call this procedure tautological, it will characterize many of the paintings that Picasso creates at that time. |
| U listopadu 1937. | In October 1937. |
| godine Picasso crta sliku "Žena koja plače". | year Picasso painter the painting "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 artwork is summed up in the depiction of a single character observed from close range. |
| 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 picture is dominated by numerous, purely painterly elements: a colorful background, the woman in the picture has a modern summer hat, her face is shown both en face and in profile, using the method we are already familiar with. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. | But, no matter how you look at it, the center of the picture is occupied by a handkerchief, which is a metaphor for suffering. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. | In her despair, the woman clenches her teeth and seems to bite him , while unstoppable tears fall on him from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. | It seems as if even a woman's nails will turn to tears in the moment when they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. | A handkerchief hides her mouth like a veil, revealing the same time the chill of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. | The relationship 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 that 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 broken form that communicates it. |
| Sad je razaranje udvostručeno. | Now the destruction is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. | The destroyed form, characteristic of Picasso's work, now also carries the idea of destruction, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. | We can call this procedure tautological, it will characterize many of the paintings that Picasso creates at that time. |
| U listopadu 1937. | In October 1937. |
| godine Picasso crta sliku "Žena koja plače". | year Picasso painter the painting "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 artwork is summed up in the depiction of a single character observed from close range. |
| 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 picture is dominated by numerous, purely painterly elements: a colorful background, the woman in the picture has a modern summer hat, her face is shown both en face and in profile, using the method we are already familiar with. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. | But, no matter how you look at it, the center of the picture is occupied by a handkerchief, which is a metaphor for suffering. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. | In her despair, the woman clenches her teeth and seems to bite him , while unstoppable tears fall on him from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. | It seems as if even a woman's nails will turn to tears in the moment when they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. | A handkerchief hides her mouth like a veil, revealing the same time the chill of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. | The relationship 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 that 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 broken form that communicates it. |
| Sad je razaranje udvostručeno. | Now the destruction is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. | The destroyed form, characteristic of Picasso's work, now also carries the idea of destruction, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. | We can call this procedure tautological, it will characterize many of the paintings that Picasso creates at that time. |
| U listopadu 1937. | In October 1937. |
| godine Picasso crta sliku "Žena koja plače". | year Picasso painter the painting "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 artwork is summed up in the depiction of a single character observed from close range. |
| 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 picture is dominated by numerous, purely painterly elements: a colorful background, the woman in the picture has a modern summer hat, her face is shown both en face and in profile, using the method we are already familiar with. |
| Ali, kako god na nju gledali, središte slike zauzima rupčić koji je metafora patnje. | But, no matter how you look at it, the center of the picture is occupied by a handkerchief, which is a metaphor for suffering. |
| Žena ga u svojem očaju steže zubima i kao da ga grize, dok na njega pada kiša nezaustavljivih suza iz njezinih očiju. | In her despair, the woman clenches her teeth and seems to bite him , while unstoppable tears fall on him from her eyes. |
| Čini se kao da će se i ženini nokti pretvoriti u suze u trenutku kad se smoče. | It seems as if even a woman's nails will turn to tears in the moment when they get wet. |
| Rupčić joj kao veo skriva usta istodobno otkrivajući jezu njezine boli. | A handkerchief hides her mouth like a veil, revealing the same time the chill of her pain. |
| Odnos ženina lica i rupčića sažima cijelu tragediju njezine patnje. | The relationship 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 that 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 broken form that communicates it. |
| Sad je razaranje udvostručeno. | Now the destruction is doubled. |
| Razorena forma, karakteristika Picassova djela, sad nosi i ideju razaranja, fragmentacije i zbrke. | The destroyed form, characteristic of Picasso's work, now also carries the idea of destruction, fragmentation and confusion. |
| Ovaj postupak možemo nazvati tautološkim, on će obilježiti više slika koje Picasso stvara u to doba. | We can call this procedure tautological, it will characterize many of the paintings that Picasso creates at that time. |
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dostępny/a Dzisiaj
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