Michael Schnepf

Document Type

Article

Journal/Book Title/Conference

Decimonónica

Volume

10

Issue

2

Publisher

Decimonónica

Publication Date

2013

First Page

71

Last Page

80

Abstract

As one combs through the galley proofs (Galeradas) of Pérez Galdós’s Fortunata y Jacinta, the author’s painstaking linguistic polishing is certainly one element that draws critical attention. But the most eye-catching aspect is, without any doubt, the artwork that adorns many of these typed pages.1 Although there is a degree of subjectivity involved in any such conclusion, one might argue that the more than two dozen sketches of human subjects offer researchers the best example of Galdós’s artistic potential found in either the extant galley proofs or the original manuscripts.2 That said, the goals of this essay are threefold. First, this essay forms part of an ongoing project aimed at publishing as much of Galdós’s manuscript and galley proof artwork as possible so that other critics can take the investigation to another level. Second, we attempt to establish, when possible, connections between the graphic and the lexical, that is to say, a link between the drawings and the characters that appear in Fortunata y Jacinta. Third, we hope to contextualize and place this artwork in the larger context of all the extant Galdosian galley proofs and original manuscripts.

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