Lena Rivera
In 2012, Cecilia Giménez, an elderly woman in her 80s, attempted to restore a 19th-century fresco of Jesus in a Spanish church. The result, however, was far from what anyone expected. The once-delicate brush strokes of the original artist, Elías García Martínez, were now buried under thick layers of paint, transforming the image of Jesus into something that resembled a monkey or a werewolf. Despite the botched restoration, the painting became an internet sensation and attracted thousands of tourists to the church, generating significant revenue. While some criticised Giménez's work, others praised her unique interpretation. As for Giménez herself, she eventually warmed up to the attention, feeling that she had put her village on the map and done something positive for her community.
| Characteristics | Values |
|---|---|
| Name of the woman | Cecilia Giménez |
| Age | 81 |
| Year of the incident | 2012 |
| Location | Sanctuary of Mercy Church, Borja, Spain |
| Original artist | Elías García Martínez |
| Original painting name | Ecce Homo (Latin: "Behold the Man") |
| Result of restoration attempt | The painting was transformed and resembled a monkey or werewolf |
| Nickname of the restored painting | Ecce Mono ("Behold the Monkey") |
| Public reaction | The incident became an internet phenomenon, with people creating memes and reworked versions of the new image |
| Tourist attraction | Yes, the church saw an increase in tourist visits and revenue, generating more than €50,000 for a local charity |
| Dispute | Giménez sought a share of the royalties, arguing that she wanted to help muscular dystrophy charities |
| Resolution | An interpretation centre dedicated to the artwork was opened in 2016, with €3 tickets generating revenue for various expenses, including funding a home for retirees |
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What You'll Learn
Cecilia Giménez's intentions
Cecilia Giménez, an untrained amateur artist in her 80s, attempted to restore a 19th-century fresco of Jesus in the Sanctuary of Mercy church in Borja, Spain. The original painting, titled "Ecce Homo" (Behold the Man) by Elías García Martínez, depicted Jesus crowned with thorns in a style typical of traditional Catholic art. However, due to moisture on the church's walls, the painting had deteriorated over time, with paint peeling and flaking off.
Giménez, a parishioner at the church, took it upon herself to restore the fresco, claiming that she had permission from the priest. Her intentions were well-meaning and stemmed from a desire to preserve the artwork. However, her execution was misguided, and her interruptions due to a trip out of town left the painting transformed. Thick layers of paint covered important details, and the once-delicate brushstrokes were buried under a haphazard splattering of paint. The result was an image that resembled a monkey or even a werewolf, earning it the nickname "Ecce Mono" (Behold the Monkey).
While Giménez's restoration attempt was not malicious, the reaction to it was intense and hurtful to her. The story quickly spread globally, becoming an internet sensation and unleashing countless memes. However, despite the ridicule, Giménez eventually warmed up to the attention her work received. She recognized that her restoration had put her village on the world map and brought thousands of tourists to the church, benefiting the local community and charities.
Giménez sought a share of the royalties from the increased tourism, intending to donate her profits to muscular dystrophy charities as her son suffered from the condition. This created a dispute between the families of the original artist and Giménez, which the mayor had to mediate. While some critics mocked Giménez's work as an "inept restoration", others interpreted it as a multifaceted comment on sacred and secular themes, elevating her to an unexpected level of artistic recognition.
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The painting's transformation
In 2012, an elderly woman named Cecilia Giménez, then 81, made headlines when she attempted to restore a 19th-century fresco of Jesus in her local church in Borja, Spain. The painting, titled "Ecce Homo" (Latin for "Behold the Man"), was originally created by the Spanish painter Elías García Martínez around 1930.
Giménez, an untrained amateur artist, noticed that the fresco had deteriorated due to moisture on the church's walls, and she took it upon herself to restore the image. She began by wetting the painting and making broad strokes, intending to finish the restoration after a two-week holiday. However, when she returned, her incomplete restoration had already become a local and then international sensation.
The painting was drastically transformed by Giménez's intervention. The delicate brush strokes of the original artist were buried under thick layers of paint, obscuring important details such as the crown of thorns on Jesus' head. The restored version was likened to a "crayon sketch of a very hairy monkey in an ill-fitting tunic" and was jokingly dubbed "Ecce Mono" ("Behold the Monkey").
Despite the negative reactions to her restoration attempt, Giménez eventually warmed up to the attention it brought. The painting became an educational and tourist attraction, drawing thousands of visitors to the church and generating significant revenue for the church and local businesses. The increased tourism also led to the creation of an interpretation centre dedicated to the artwork, with ticket sales benefiting the local community.
In 2016, a painting matching the original fresco before its restoration was discovered in Zaragoza, providing a glimpse of what the "Ecce Homo" originally looked like. This discovery brought back a range of emotions for Giménez, who was nearly 86 at the time and no longer painted. While the incident had initially been difficult for her, she acknowledged that it had ultimately benefited the church and the community.
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The media frenzy
The story was irresistible to the press and public alike. It had all the ingredients of a perfect media storm: a beloved but unremarkable artwork, an elderly amateur artist, a botched restoration, and a transformed painting that was now more comical than devotional. The press pounced on the story, and Giménez found herself at the centre of a media frenzy.
Giménez's restoration attempt was characterised as inept and comical, and she was mocked for her artistic abilities, or lack thereof. However, some commentators came to her defence, arguing that she had acted with good intentions and that her intervention had ultimately benefited the church and the wider community. Indeed, the attention generated by the story brought a surge of tourists to the church and the local area, boosting the local economy and generating significant charitable donations.
The media attention also sparked a broader discussion about art restoration and the role of amateur restorers. The incident highlighted the potential consequences of unauthorised restoration attempts and prompted conversations about the proper procedures for restoring artworks.
In the years since the initial media frenzy, Giménez has come to embrace the attention her restoration attempt brought. Speaking publicly in 2015, she reflected on the positive impact the incident had on her village, bringing it worldwide attention and an influx of tourists. She has also sought a share of the royalties generated by the increased tourist activity, intending to donate her profits to muscular dystrophy charities, a cause close to her heart due to her son's condition.
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The church's increased tourism
The Sanctuary of Mercy church in Borja, Spain, became a tourist attraction after Cecilia Giménez's restoration attempt of a fresco of Jesus painted by Elías García Martínez in the 1930s. The artwork's transformation sparked global interest, with many people visiting the church to see the altered painting.
In the year following the incident, tourist activity generated 40,000 visits and over €50,000 for a local charity. By 2016, the number of tourists visiting Borja had surged to as many as 200,000, bringing significant economic benefits to the town. Visitors spent money with local businesses and donated approximately €50,000 to the church, enabling the hiring of additional staff and funding for a retirement home.
The increased tourism and media attention also led to the establishment of an interpretation centre dedicated to the artwork in 2016. Tickets for the centre generated substantial revenue, contributing to the retirement home and other expenses.
While the restoration attempt was initially met with criticism and ridicule, some commentators offered a different perspective. A Forbes article suggested that the "inept restoration" represented "one woman's vision of her savior, uncompromised by schooling". Cecilia Giménez eventually embraced the attention, acknowledging that her restoration put Borja on the world map and attracted visitors to the church.
The original painting that García is believed to have used as inspiration for the fresco was rediscovered in Zaragoza in 2024, attracting media interest and leading to plans for a public unveiling. The incident involving Giménez's restoration attempt and the subsequent tourism it generated brought mixed emotions for Giménez, who reflected on the positive impact on the church and the village of Borja.
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Giménez's demand for royalties
Cecilia Giménez, an 80-year-old untrained amateur artist, attempted to restore a 19th-century fresco of Jesus, which had deteriorated due to moisture on the church walls. The result of her restoration was an image that looked more like a werewolf or a monkey than Jesus Christ. The painting, titled "Ecce Homo" (Behold the Man), became an internet sensation and attracted global attention, with people dubbing it "the worst restoration in history" and "beast Jesus".
The Sanctuary of Mercy Church in Borja, Spain, where the painting resides, began charging visitors an admission fee to see the restored fresco, which generated a significant increase in tourist activity and revenue for the church and local businesses. In the year following the failed restoration, tourist activity generated €50,000 for a local charity, and by 2016, the number of tourists visiting the town had increased to 57,000 or even 200,000.
Giménez, who had become a worldwide laughing stock due to her botched restoration, initially felt hurt by the negative reaction to her work. However, she eventually warmed up to the attention it brought and decided to seek a share of the royalties generated by the increased tourism. She hired a lawyer, Enrique Trebolle, to help her secure royalties from the fees charged by the church owners. Giménez's lawyer stated that she wanted her share of the profits to go towards muscular dystrophy charities, as her son suffers from the condition.
The demand for royalties sparked a dispute between the families of the original artist, Elías García Martínez, and Giménez, which had to be mediated by the mayor. While some may argue that Giménez's attempt at restoration ruined the original artwork, others have come to appreciate her unique interpretation. A Forbes commentator suggested that the "inept restoration" represented "one woman's vision of her savior, uncompromised by schooling".
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Frequently asked questions
Cecilia Giménez, the woman who painted over a fresco of Jesus, is still alive and living in Borja, Spain. She was in her 80s when she attempted the restoration.
Cecilia Giménez's restoration attempt transformed the painting, making it look similar to a monkey. It has since been dubbed "Ecce Mono" ("Behold the Monkey"). The work has not been restored and instead became an educational and tourist attraction.
Giménez initially felt hurt by the backlash, as her restoration was interrupted by a trip out of town, and she had not finished the work. However, she later warmed up to the attention brought by her restoration attempt, stating that she had put her village on the world map.
Giménez sought a share of the royalties, with her lawyer stating that she wanted her share of the profits to help muscular dystrophy charities as her son suffers from the condition. However, it is unclear from the sources whether she received any compensation.
