Forgive them, father, for they know not what they do . . .
Whether it’s a misplaced elbow or water damage, restoration of damaged artwork is a work of art in itself — when it goes well. There is some debate in the art community as to whether restorations always improve aging or damaged works. Some examples:
The Monkey Jesus Fresco Better known as Ecce Homo by Elias Garcia Martinez, depicting Christ with a crown of thorns, the work of art in Borja, Spain, was a fixture in the Sanctuary of St. Mercy Church for more than a century. And then it got worldwide fame in 2012.
An 81-year-old parishioner thought she could fill in bare spots on the left side of the head and around the ear, but the ham-hand- ed effort resulted in beady eyes, a botched nose and round mouth that made the face look more simian than human.
The BBC reported that people began referring to it as Ecco Mono (“behold the monkey”).
It provided a boon in local tourism at the time, but at a cost that goes far beyond money ringing into cash registers.
Officials told the BBC it’s now impossible to restore the painting’s original look.
The Lisa Simpson Jesus Statue In Sudbury last year, the Jesus head on a white stone statue of Baby Jesus and Mary on the front lawn of Ste. Anne des Pins church was severed and stolen.
But its temporary replacement by a local artist was made of terracotta and quickly began turning heads for its orange hue and spiky hair resembling cartoon character Lisa Simpson.
“The initial plan was to paint it, but it was never dry enough, and we’re starting into the rainy seasons,” Rev. Gerard Lajeunese told the Star in October 2016.
The Battle of San Romano at the National Gallery, London, U.K. The painting by Paolo Uccello was “radically” cleaned in the 1960s, the Telegraph reported in 2012, noting the colours “look faded, almost bleached out, and the figures and horses strangely flat.”
The newspaper raised the question of what the painting would look like if left alone, and suggested comparing it to a picture by the same artist at the Uffizi Gallery in Florence, Italy. “The difference is shocking.”
The Sistine Chapel Did restorers over-clean Michelangelo’s famous work during a major restoration of the frescos from 1980 to 1994?
ArtWatch maintained that restorers went too far on the chapel ceiling, having taken off soot and dirt as well as the work of earlier restorers. The Telegraph wrote that they’d painted in more “garish and clashing” colours.
Others disagree, saying the colours are more vivid and intense thanks not just to the restoration, but new chapel lighting.
Decide for yourself in a “before and after” interactive feature at davidbcalhoun.com/Sistine-chapelrestorations.