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"(E)l hombre se nos revela mejor": The Place of Photography and the Visual Arts in Misericordia

"(E)l hombre se nos revela mejor": The Place of Photography and the Visual Arts in Misericordia Curtiss Wasson Stephen Miller's exhaustive study of Galdós's sketch albums, Galdós gráfico, also serves to catalogue the visual material found in the library of the Casa-Museo Pérez Galdós. Among the collection are thirteen volumes of clippings, mainly etchings and other visual material, primarily taken from periodical literature, and three albums of photographic carte de visite, or collectible photo-cards (Miller 139; 160). The volumes of clippings, all in good condition, are filled with diverse materials, juxtaposed with complete indifference to thematic or chronological order (153). This indifference translates into the elimination of many of the titles and other identifying features from the clippings (144-45). The volumes of clippings probably date from 1880, a year in which Galdós does not publish anything, in part because he spent the year planning an illustrated edition of the Episodios nacionales (158-59). In his study, Miller also suggests that the volumes reflect Galdós's general interest in documenting his contemporary reality (159-60). In comparison to the jumbled albums of clippings, the photograph albums are thematically organized, and in varying condition, with the worst being that of the volume dedicated to literary and cultural figures of note (161). Although Miller casts doubt on Galdós's role in http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Anales Galdosianos Anales Galdosianos

"(E)l hombre se nos revela mejor": The Place of Photography and the Visual Arts in Misericordia

Wasson, Curtiss.
Anales Galdosianos , Volume 47 (1) – Dec 23, 2012
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Anales Galdosianos
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Copyright © by the Author
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2161-301X
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Abstract

Curtiss Wasson Stephen Miller's exhaustive study of Galdós's sketch albums, Galdós gráfico, also serves to catalogue the visual material found in the library of the Casa-Museo Pérez Galdós. Among the collection are thirteen volumes of clippings, mainly etchings and other visual material, primarily taken from periodical literature, and three albums of photographic carte de visite, or collectible photo-cards (Miller 139; 160). The volumes of clippings, all in good condition, are filled with diverse materials, juxtaposed with complete indifference to thematic or chronological order (153). This indifference translates into the elimination of many of the titles and other identifying features from the clippings (144-45). The volumes of clippings probably date from 1880, a year in which Galdós does not publish anything, in part because he spent the year planning an illustrated edition of the Episodios nacionales (158-59). In his study, Miller also suggests that the volumes reflect Galdós's general interest in documenting his contemporary reality (159-60). In comparison to the jumbled albums of clippings, the photograph albums are thematically organized, and in varying condition, with the worst being that of the volume dedicated to literary and cultural figures of note (161). Although Miller casts doubt on Galdós's role in

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Anales Galdosianos – Anales Galdosianos

Published: Dec 23, 2012

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