{"id":1334,"date":"2016-04-29T00:00:01","date_gmt":"2016-04-29T04:00:01","guid":{"rendered":"https:\/\/www.bu.edu\/sequitur\/?p=1334"},"modified":"2018-09-13T14:45:57","modified_gmt":"2018-09-13T18:45:57","slug":"handler-ecce","status":"publish","type":"post","link":"https:\/\/www.bu.edu\/sequitur\/2016\/04\/29\/handler-ecce\/","title":{"rendered":"Grotesque Irreverence: The Transformation of \u2018Ecce Homo\u2019"},"content":{"rendered":"<div align=\"center\">\n<div id=\"container\">\n<div><img loading=\"lazy\" alt=\"before\" src=\"https:\/\/www.bu.edu\/sequitur\/files\/2016\/04\/ecce-homo-before-342x454.jpg\" width=\"283\" height=\"375\" \/><\/div>\n<div><img loading=\"lazy\" alt=\"after\" src=\"https:\/\/www.bu.edu\/sequitur\/files\/2016\/04\/ecce-homo-after-342x454.jpg\" width=\"283\" height=\"375\" \/><\/div>\n<p><script type=\"text\/javascript\" src=\"http:\/\/ajax.googleapis.com\/ajax\/libs\/jquery\/1.3.2\/jquery.min.js\"><\/script><script type=\"text\/javascript\" src=\"http:\/\/ajax.googleapis.com\/ajax\/libs\/jqueryui\/1.7.1\/jquery-ui.min.js\"><\/script><br \/>\n<span style=\"color: #999999;\"><script type=\"text\/javascript\" src=\"https:\/\/www.bu.edu\/sequitur\/files\/2016\/03\/jquery.beforeafter-1.4.js\"><\/script><script type=\"text\/javascript\">\/\/ <![CDATA[ $(function(){ $('#container').beforeAfter({animateIntro : true, showFullLinks : false, imagePath : '\/sequitur\/files\/2016\/04\/'}) }); \/\/ ]]><\/script><\/span><\/p>\n<\/div>\n<p style=\"text-align: center;\"><span style=\"color: #808080;\"><sup>To expand the photos of before and after Cecilia Gim\u00e9nez&#8217;s intervention,\u00a0<\/sup><sup>slide the toggle\u00a0in the center.<\/sup><\/span><\/p>\n<p style=\"text-align: left;\">The global online community erupted on August 21, 2012 following reports by the Spanish newspaper <em>Heraldo <\/em>of the failed attempt made by Cecilia Gim\u00e9nez, an elderly local amateur artist, to restore El\u00edas Garc\u00eda Mart\u00ednez\u2019s fresco <em>Ecce Homo (Behold the Man)<\/em> (Figure 1).<a href=\"#_edn1\" name=\"_ednref1\"><span><span>[1]<\/span><\/span><\/a> A gift from Mart\u00ednez, the artwork was painted directly onto the wall of the Santuario de Misericordia church in the Spanish town of Borja in around 1930, and until 2012 had existed in relative obscurity. The work is unimposing in size, measuring just twenty inches in height and sixteen inches in width, and was originally painted by Mart\u00ednez in a style strikingly similar to that of the high-Baroque works of Italian artist Guido Reni (1575-1642). Whilst general opinion amongst the press treated the fresco as \u201ca work of little artistic importance,\u201d because \u201cMart\u00ednez is not a great artist and his painting <em>Ecce Homo<\/em> is not a \u2018masterpiece,\u2019\u201d the fresco nevertheless held some sentimental value within the local community; residents\u2019 attachment to it stemmed from an interest in historical preservation and general artistic authenticity as much as the inherent sanctity associated with the artwork.<a href=\"#_edn2\" name=\"_ednref2\"><span><span>[2]<\/span><\/span><\/a> The original image, which depicted Jesus crowned with thorns and gazing skyward in a traditional Catholic pose, had suffered significant moisture damage over the decades. Sources vary as to whether Gim\u00e9nez acted with or without permission from the priest, but local city councilor of arts and culture, Juan Maria Ojeda, was quick to defend the octogenarian parishioner, dismissing theories of malicious vandalism, and instead insisting that she acted with \u201cgood intentions,\u201d despite having no formal artistic training.<a href=\"#_edn3\" name=\"_ednref3\"><span><span>[3]<\/span><\/span><\/a><\/p>\n<p><!--more--><\/p>\n<figure id=\"attachment1731\" aria-describedby=\"caption-attachment1731\" style=\"width: 550px\" class=\"wp-caption aligncenter\"><a href=\"\/sequitur\/files\/2016\/04\/Ecce_Homo_cover1.jpg\"><img loading=\"lazy\" src=\"\/sequitur\/files\/2016\/04\/Ecce_Homo_cover1.jpg\" width=\"540\" height=\"210\" class=\"wp-image-1731\" srcset=\"https:\/\/www.bu.edu\/sequitur\/files\/2016\/04\/Ecce_Homo_cover1.jpg 900w, https:\/\/www.bu.edu\/sequitur\/files\/2016\/04\/Ecce_Homo_cover1-636x247.jpg 636w\" sizes=\"(max-width: 540px) 100vw, 540px\" \/><\/a><figcaption id=\"caption-attachment1731\" class=\"wp-caption-text\">Figure 1. El\u00edas Garc\u00eda Mart\u00ednez, Ecce Homo, ca. 1930, fresco, 20 in x 16 in. Santuario de Misericordia Church, Borja, Diocese of Tarazona. The leftmost photograph, taken in 2010, shows some initial flaking of the paintwork. The central photograph was taken in July 2012, just a month prior to the attempted restoration, and shows the extent of damage and deterioration. The rightmost photograph documents the artwork following Gim\u00e9nez\u2019s efforts to repair it.<\/figcaption><\/figure>\n<p style=\"text-align: left;\">Gim\u00e9nez\u2019s efforts had such disastrous results that the uproar soon turned into hilarity, with journalists likening the restoration to both Rowan Atkinson\u2019s Mr. Bean defacing <em>Whistler\u2019s Mother <\/em>(1871) (Figure 2), and a \u201ccrayon sketch of a very hairy monkey in an ill-fitting tunic,\u201d \u2013 the latter perhaps contributing to the subsequent dubbing of the restored version \u201c<em>Ecce Mono <\/em>(<em>Behold the Monkey<\/em>).\u201d<a href=\"#_edn4\" name=\"_ednref4\"><span><span>[4]<\/span><\/span><\/a> Gim\u00e9nez\u2019s handiwork quickly became an internet phenomenon. In a matter of hours, online forums and social media outlets such as Reddit, 4chan, Facebook, Tumblr and Twitter had created various discussion threads, groups and accounts that generated thousands of comments, reposts and followers as the artwork was transformed into various \u201cmemetic\u201d images and disseminated globally. These memes ranged from simple, animal-based edits (Figure 3), to elaborate efforts to paste the now monstrous face onto famous works of art, such as Edvard Munch\u2019s <em>The Scream<\/em> of 1893 (Figure 4) and Leonardo da Vinci\u2019s <em>Mona Lisa<\/em>, c. 1506 (Figure 5).<a href=\"#_edn5\" name=\"_ednref5\"><span><span>[5]<\/span><\/span><\/a><\/p>\n<figure id=\"attachment1681\" aria-describedby=\"caption-attachment1681\" style=\"width: 398px\" class=\"wp-caption aligncenter\"><a href=\"\/sequitur\/files\/2016\/04\/mrbean.jpg\"><img loading=\"lazy\" src=\"\/sequitur\/files\/2016\/04\/mrbean-636x551.jpg\" alt=\"Figure 2. Mr Bean\u2019s restoration of James McNeill Whistler\u2019s Arrangement in Grey and Black No. 1 (Whistler\u2019s Mother), from the movie Bean, 1997 (Polygram Filmed Entertainment, photo via mrbeanwikia.com). \" width=\"388\" height=\"336\" class=\"wp-image-1681 \" srcset=\"https:\/\/www.bu.edu\/sequitur\/files\/2016\/04\/mrbean-636x551.jpg 636w, https:\/\/www.bu.edu\/sequitur\/files\/2016\/04\/mrbean-1024x887.jpg 1024w, https:\/\/www.bu.edu\/sequitur\/files\/2016\/04\/mrbean.jpg 1500w\" sizes=\"(max-width: 388px) 100vw, 388px\" \/><\/a><figcaption id=\"caption-attachment1681\" class=\"wp-caption-text\">Figure 2. Mr Bean\u2019s restoration of James McNeill Whistler\u2019s Arrangement in Grey and Black No. 1 (Whistler\u2019s Mother), from the movie Bean, 1997 (Polygram Filmed Entertainment, photo via mrbeanwikia.com).<\/figcaption><\/figure>\n<p style=\"text-align: left;\"><span>Whilst it is easy to see that the global community found Gim\u00e9nez\u2019s work to be an abundant source of humor, what is not immediately clear is the reason why exactly this particular image generated such widespread interest and ridicule. In an age of increasing tension between religion and agnosticism\/atheism in modern society, or between those who believe in God and those who do not, religious irreverence has become for some a comedy of its own. This is exemplified by the soaring popularity of memes such as <\/span><em>LOL Jesus<\/em><span>, which refers to a subgenre of images most often based on iconic depictions of Jesus accompanied by tongue-in-cheek captions that portray the figure as somewhat irreverent and obnoxious.<\/span><a href=\"#_edn6\" name=\"_ednref6\"><span><span>[6]<\/span><\/span><\/a><span> Significantly, however, the <\/span><em>Ecce Homo <\/em><span>phenomenon was accidental (at least in the first instance), as opposed to carefully constructed jokes designed to garner widespread appreciation and amusement, or perhaps to provoke or even gently offend.<\/span><\/p>\n<figure id=\"attachment1678\" aria-describedby=\"caption-attachment1678\" style=\"width: 268px\" class=\"wp-caption aligncenter\"><a href=\"\/sequitur\/files\/2016\/04\/lion.jpg\"><img loading=\"lazy\" src=\"\/sequitur\/files\/2016\/04\/lion-627x1024.jpg\" alt=\"lion\" width=\"258\" height=\"422\" class=\"wp-image-1678\" srcset=\"https:\/\/www.bu.edu\/sequitur\/files\/2016\/04\/lion-627x1024.jpg 627w, https:\/\/www.bu.edu\/sequitur\/files\/2016\/04\/lion-389x636.jpg 389w, https:\/\/www.bu.edu\/sequitur\/files\/2016\/04\/lion.jpg 918w\" sizes=\"(max-width: 258px) 100vw, 258px\" \/><\/a><figcaption id=\"caption-attachment1678\" class=\"wp-caption-text\">Figure 3. Author unknown, Internet meme transforming the restored Ecce Homo into a lion-like creature, 2012, (Photo via knowyourmeme.com).<\/figcaption><\/figure>\n<p style=\"text-align: left;\">It is often the case that unintentional humor proves the most effective of all, especially, as in this instance, when the subject matter is of such veneration and the creator\u2019s motives so sincere. This is amplified by the incredulity expressed by commentators in the press: in a 2016 article, Jonathan Jones, the art editor of the British newspaper <em>The Guardian<\/em>, exclaimed, \u201c[h]ow did it happen? What was the well-meaning vandal thinking?\u201d Gim\u00e9nez\u2019s <em>Ecce Homo<\/em> seems almost too disastrous to have been a mere accident, and this only increases its comedic effect.<a href=\"#_edn7\" name=\"_ednref7\"><span><span>[7]<\/span><\/span><\/a> Moreover, the initial mistake becomes all the more humorous when it is intentionally and often quite skillfully combined with the various popular culture references that then form memes. In many ways, this incident became something of an advertisement for the grotesque genre, for the reaction it spawned was appropriately threefold: according to scholar and critic Geoffrey Harpham, \u201cfor an object to be grotesque, it must arouse three responses. Laughter and astonishment are two: Either disgust or horror is the third.\u201d<a href=\"#_edn8\" name=\"_ednref8\"><span><span>[8]<\/span><\/span><\/a> Considering the plethoric responses to the restoration, varying from hilarity amongst internet users to astonishment and disdain within the pious local community, the new <em>Ecce Homo <\/em>became an unlikely purveyor of grotesquerie.<\/p>\n<figure id=\"attachment1680\" aria-describedby=\"caption-attachment1680\" style=\"width: 258px\" class=\"wp-caption aligncenter\"><a href=\"\/sequitur\/files\/2016\/04\/scream.jpg\"><img loading=\"lazy\" src=\"\/sequitur\/files\/2016\/04\/scream-491x636.jpg\" alt=\"scream\" width=\"248\" height=\"321\" class=\"wp-image-1680 \" srcset=\"https:\/\/www.bu.edu\/sequitur\/files\/2016\/04\/scream-491x636.jpg 491w, https:\/\/www.bu.edu\/sequitur\/files\/2016\/04\/scream-790x1024.jpg 790w, https:\/\/www.bu.edu\/sequitur\/files\/2016\/04\/scream.jpg 1157w\" sizes=\"(max-width: 248px) 100vw, 248px\" \/><\/a><figcaption id=\"caption-attachment1680\" class=\"wp-caption-text\">Figure 4. Author unknown, Internet meme combining the restored Ecce Homo and Edvard Munch\u2019s The Scream, 2012, (Photo via knowyourmeme.com).<\/figcaption><\/figure>\n<p style=\"text-align: left;\">The grotesque is often discussed as a distortion of established aesthetic conventions and their representation of reality as we understand it; the result of such challenges to aesthetic norms is the creation of a disturbing new form of truth. In this way, <em>Ecce Homo<\/em> becomes a paradigm of grotesque humor. The grotesque aspects of the painting can be understood more darkly (and thus perhaps, for some, more amusingly still), for this disassembling of convention is a result of what Robert C. Evans, an authority on the philosophy of the grotesque, would term a \u201csudden, disastrous, and apparently random change.\u201d<a href=\"#_edn9\" name=\"_ednref9\"><span><span>[9]<\/span><\/span><\/a> Indeed, its grotesqueness has been amplified by its alterations having arisen from, as Evans summarizes, \u201ca serious accident or some other abrupt loss,\u201d unforeseen by community and society and so extreme that it can never be undone or rectified.<a href=\"#_edn10\" name=\"_ednref10\"><span><span>[10]<\/span><\/span><\/a> The reaction engendered by the grotesque, whether it be horror, abhorrence, diversion or laughter, possesses a power and effect proportionate to its severity; in the case of <em>Ecce Homo<\/em>, its potency and the longevity thereof is, in a large part, a consequence of the irredeemableness and incorrigibility of its metamorphosis.<\/p>\n<figure id=\"attachment1679\" aria-describedby=\"caption-attachment1679\" style=\"width: 257px\" class=\"wp-caption aligncenter\"><a href=\"\/sequitur\/files\/2016\/04\/mona.jpg\"><img loading=\"lazy\" src=\"\/sequitur\/files\/2016\/04\/mona-687x1024.jpg\" alt=\"mona\" width=\"247\" height=\"368\" class=\"wp-image-1679\" srcset=\"https:\/\/www.bu.edu\/sequitur\/files\/2016\/04\/mona-687x1024.jpg 687w, https:\/\/www.bu.edu\/sequitur\/files\/2016\/04\/mona-427x636.jpg 427w, https:\/\/www.bu.edu\/sequitur\/files\/2016\/04\/mona.jpg 1006w\" sizes=\"(max-width: 247px) 100vw, 247px\" \/><\/a><figcaption id=\"caption-attachment1679\" class=\"wp-caption-text\">Figure 5. Author unknown, Internet meme combining the restored Ecce Homo and Leonardo Da Vinci\u2019s Mona Lisa, 2012, (Photo via knowyourmeme.com).<\/figcaption><\/figure>\n<p style=\"text-align: left;\">The furor surrounding the fresco generated interest in more than just its comedic value. The subsequent fame of the artwork has rewarded Borja with an influx of more than 40,000 tourists, raising more than 50,000 euros for charity and inspiring a range of memorabilia and gifts, and as of March 2016, the town opened its own arts center dedicated to celebrating the fresco in both its original nineteenth-century form, and in its current state as what <em>Hyperallergic<\/em> writer Claire Voon has termed a \u201chazily daubed, gaping primate.\u201d<a href=\"#_edn11\" name=\"_ednref11\"><span><span>[11]<\/span><\/span><\/a> However, Gim\u00e9nez\u2019s restoration has also been applauded for its importance and influence in the art world. Much like its apparent significance within the genre of the grotesque, the restored artwork was hailed as a daring example of Expressionism, praised by global online art hub <em>Blouin Artinfo<\/em> for unleashing \u201ca freakish new power all its own.\u201d<a href=\"#_edn12\" name=\"_ednref12\"><span><span>[12]<\/span><\/span><\/a> Indeed, far from simply generating attention for an otherwise unfamiliar and arguably mediocre artwork, Gim\u00e9nez\u2019s restoration provides what <em>Forbes<\/em> magazine\u2019s Jonathon Keats calls \u201crare raw access to human faith at work,\u201d representing \u201cone woman\u2019s vision of her savior, uncompromised by schooling.\u201d<a href=\"#_edn13\" name=\"_ednref13\"><span><span>[13]<\/span><\/span><\/a><\/p>\n<p style=\"text-align: left;\">For some, the new artwork symbolizes the power of the creative and the ecclesiastical expression of someone who has remained unfettered by artistic regulation; Gim\u00e9nez has perhaps acted \u2018in blind faith.\u2019 The humor of this botched restoration is just one facet of its appeal and significance, for the attention garnered by its enduring hilarity can lead to important insight into an individual\u2019s connection to a figure with whom they feel an affinity. In this way, Gim\u00e9nez\u2019s attempted restoration is, in the simplest of terms, representative of a human response to passion, in this case spiritual passion, which is an experience, message and notion that should be as powerful to those without religious faith, as it is to those who believe.<\/p>\n<h3 style=\"text-align: left;\"><em>Sophie Handler<\/em><\/h3>\n<p>&nbsp;<\/p>\n<hr \/>\n<p style=\"text-align: left;\"><strong>Endnotes:<\/strong><\/p>\n<p style=\"text-align: left;\"><a href=\"#_ednref1\" name=\"_edn1\"><span><span>[1]<\/span><\/span><\/a> Elena P\u00e9rez Beriain, \u201c<a href=\"http:\/\/www.heraldo.es\/noticias\/cultura\/2012\/08\/21\/la_restauracion_una_pintura_mural_una_iglesia_borja_acaba_chapuza_200865_308.html\">La \u2018restauracion\u2019 de una pintura mural en una iglesia de Borja acaba en \u2018chapuza,<\/a>\u2019\u201d <em>Heraldo<\/em>, December 12, 2012, accessed January 24, 2016.<\/p>\n<p style=\"text-align: left;\"><a href=\"#_ednref2\" name=\"_edn2\"><span><span>[2]<\/span><\/span><\/a> John Hall, \u201cElderly woman destroys 19<sup>th<\/sup>-century Spanish fresco by Elias Garc\u00eda Mart\u00ednez in botched restoration,\u201d <em>The Independent<\/em>, August 22, 2012, accessed January 24, 2016. http:\/\/www.independent.co.uk\/arts-entertainment\/art\/news\/elderly-woman-destroys-19th-century-spanish-fresco-by-elias-garcia-martinez-in-botched-restoration-8073267.html; Jonathan Jones, \u201cGreat art needs a few restoration disasters,\u201d <em>The Guardian<\/em>, August 23, 2012, accessed January 24, 2016. <span><a href=\"http:\/\/www.theguardian.com\/commentisfree\/2012\/aug\/23\/great-art-restoration-disasters\">http:\/\/www.theguardian.com\/commentisfree\/2012\/aug\/23\/great-art-restoration-disasters<\/a><\/span><span>.<\/span><\/p>\n<p style=\"text-align: left;\"><a href=\"#_ednref3\" name=\"_edn3\"><span><span>[3]<\/span><\/span><\/a> \u201cSpanish fresco restoration botched by amateur,\u201d <em>BBCnews.com<\/em>, accessed January 24, 2016. http:\/\/www.bbc.co.uk\/news\/world-europe-19349921.<\/p>\n<p style=\"text-align: left;\"><a href=\"#_ednref4\" name=\"_edn4\"><span><span>[4]<\/span><\/span><\/a> Jones, \u201cGreat art needs a few restoration disasters;\u201d \u201cSpanish fresco restoration botched by amateur;\u201d \u201cEcce Mono,\u201d <em>Financial Times<\/em>, August 24, 2012, accessed January 24, 2016. http:\/\/www.ft.com\/intl\/cms\/s\/0\/269a80c4-edec-11e1-8d72-00144feab49a.html<span>.<\/span><\/p>\n<p style=\"text-align: left;\"><a href=\"#_ednref5\" name=\"_edn5\"><span><span>[5]<\/span><\/span><\/a> \u201cBotched Ecce Homo Painting,\u201d <em>KnowYourMeme.<\/em>com<span>, <\/span>accessed January 24, 2016. <span><a href=\"http:\/\/knowyourmeme.com\/memes\/events\/botched-ecce-homo-painting\">http:\/\/knowyourmeme.com\/memes\/events\/botched-ecce-homo-painting<\/a><\/span><span>.<\/span><\/p>\n<p style=\"text-align: left;\"><a href=\"#_ednref6\" name=\"_edn6\"><span><span>[6]<\/span><\/span><\/a> \u201cLOL Jesus,\u201d <em>KnowYourMeme.com<\/em>, accessed January 24, 2016. http:\/\/knowyourmeme.com\/memes\/events\/lol-jesus.<\/p>\n<p style=\"text-align: left;\"><a href=\"#_ednref7\" name=\"_edn7\"><span><span>[7]<\/span><\/span><\/a> Jones, \u201cGreat art needs a few restoration disasters.\u201d<\/p>\n<p style=\"text-align: left;\"><a href=\"#_ednref8\" name=\"_edn8\"><span><span>[8]<\/span><\/span><\/a> Geoffrey Harpham, \u201cThe Grotesque: First Principle,\u201d <em>The Journal of Aesthetics and Art Criticism<\/em> 34, no. 4 (1976): 463.<\/p>\n<p style=\"text-align: left;\"><a href=\"#_ednref9\" name=\"_edn9\"><span><span>[9]<\/span><\/span><\/a> Robert C. Evans, \u201cAspects of the Grotesque in Franz Kafka\u2019s <em>The Metamorphosis<\/em>,\u201d in <em>The Grotesque<\/em>, ed. Harold Bloom, (New York: Chelsea House Publishing, 2009), 143.<\/p>\n<p style=\"text-align: left;\"><a href=\"#_ednref10\" name=\"_edn10\"><span><span>[10]<\/span><\/span><\/a> Evans, \u201cAspects of the Grotesque,\u201d 143.<\/p>\n<p style=\"text-align: left;\"><a href=\"#_ednref11\" name=\"_edn11\"><span><span>[11]<\/span><\/span><\/a> \u201cDisfigured Spanish fresco is hit for artist, town,\u201d<em>Yahoo! News<\/em>, accessed January 26, 2016. <span><a href=\"http:\/\/news.yahoo.com\/disfigured-spanish-fresco-hit-artist-town-151848237.html\">http:\/\/news.yahoo.com\/disfigured-spanish-fresco-hit-artist-town-151848237.html<\/a><\/span>; Aitor Bengoa, \u201cEl eccehomo de Borja ya tiene quien lo explique,\u201d <em>El Pa\u00eds<\/em>, March 16, 2016, accessed March 22 2016. <span><a href=\"http:\/\/cultura.elpais.com\/cultura\/2016\/03\/16\/actualidad\/1458155898_147342.html\">http:\/\/cultura.elpais.com\/cultura\/2016\/03\/16\/actualidad\/1458155898_147342.html<\/a><\/span>; Claire Voon, \u201cWith Its Own Arts Center, Beast Jesus Rises Again,\u201d <em>Hyperallergic<\/em>, March 18, 2016, accessed March 22, 2016. <span><a href=\"http:\/\/hyperallergic.com\/284684\/with-its-own-arts-center-beast-jesus-rises-again\">http:\/\/hyperallergic.com\/284684\/with-its-own-arts-center-beast-jesus-rises-again<\/a><\/span><span>.<\/span><\/p>\n<p style=\"text-align: left;\"><a href=\"#_ednref12\" name=\"_edn12\"><span><span>[12]<\/span><\/span><\/a> Alexander Forbes, \u201cSpanish Octogenarian\u2019s Disastrous Unauthorized Art Restoration Yields Surprisingly Avant-Garde Results,\u201d <em>Blouin Artinfo<\/em>, August 23, 2012, accessed January 26, 2016. <span><a href=\"http:\/\/www.blouinartinfo.com\/news\/story\/821028\/spanish-octogenarians-disastrous-unauthorized-art-restoration\">http:\/\/www.blouinartinfo.com\/news\/story\/821028\/spanish-octogenarians-disastrous-unauthorized-art-restoration<\/a><\/span><span>.<\/span><\/p>\n<p style=\"text-align: left;\"><a href=\"#_ednref13\" name=\"_edn13\"><span><span>[13]<\/span><\/span><\/a> Jonathon Keats, \u201cWhy Every Church Should Be Blessed With A Muralist As Uncouth As Cecilia Gim\u00e9nez,\u201d <em>Forbes<\/em>, September 27, 2012, accessed January 26, 2016. <span><a href=\"http:\/\/www.forbes.com\/sites\/jonathonkeats\/2012\/09\/27\/why-every-church-should-be-blessed-with-a-muralist-as-uncouth-as-cecilia-gimenez\/#16dd85457c44\">http:\/\/www.forbes.com\/sites\/jonathonkeats\/2012\/09\/27\/why-every-church-should-be-blessed-with-a-muralist-as-uncouth-as-cecilia-gimenez\/#16dd85457c44<\/a><\/span><span>.<\/span><\/p>\n<p style=\"text-align: left;\"><a href=\"\/sequitur\/files\/2016\/04\/Sequitur-22-Handler.pdf\">Download Article<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>To expand the photos of before and after Cecilia Gim\u00e9nez&#8217;s intervention,\u00a0slide the toggle\u00a0in the center. The global online community erupted on August 21, 2012 following reports by the Spanish newspaper Heraldo of the failed attempt made by Cecilia Gim\u00e9nez, an elderly local amateur artist, to restore El\u00edas Garc\u00eda Mart\u00ednez\u2019s fresco Ecce Homo (Behold the Man) [&hellip;]<\/p>\n","protected":false},"author":8848,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[3],"tags":[],"_links":{"self":[{"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/posts\/1334"}],"collection":[{"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/users\/8848"}],"replies":[{"embeddable":true,"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/comments?post=1334"}],"version-history":[{"count":50,"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/posts\/1334\/revisions"}],"predecessor-version":[{"id":3111,"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/posts\/1334\/revisions\/3111"}],"wp:attachment":[{"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/media?parent=1334"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/categories?post=1334"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.bu.edu\/sequitur\/wp-json\/wp\/v2\/tags?post=1334"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}