Prima Gallery

Italian government’s ownership over the sculpture of Biblical hero David made by Renaissance period artist Michelangelo has been challenged by a local authority which claims the heritage statue belongs to Florence city.

Italy’s culture minister Sandro Bondi Monday described as ‘absurd’ and ‘inopportune’ a row that has erupted between the government and Florence city council.

Lawyers for the culture minister have presented a nine-page document claiming the 5.17-metre high marble figure, which draws over 1.5 million visitors annually, belongs to the Italian state.

But the mayor of Florence, Tuscany’s famous art city, insists the masterpiece belongs to the city council.

Centre-left mayor Matteo Renzi argues that when Rome became the capital of Italy, a decree in 1870-1871 assigned Palazzo Vecchio – where David was erected in 1504 – and all its contents to Florence.

But the government strongly disputes this claim and argues that history is on its side.

‘Against my will, I find myself involved once again in an absurd and inopportune row. Michelangelo’s David a symbol of cultural unity for Florence and for Italy,’ Bondi said in a statement Monday.

‘For propaganda purposes, the mayor of Florence is resorting to low tricks in disputing the ownership of this work of art,’ the statement added.

The Italian state, not Florence city council – created when the city was part of the Grand Duchy of Tuscany – is the legal successor to the Florentine Republic, according to government lawyers.

The sinuous sling-bearing David, the slayer of Goliath, is the main attraction at Palazzo Vecchio’s Accademia gallery, and is worth 8 million euros in annual ticket sales.

These ticket receipts are pocketed by the Italian government, along with 30 million euros of revenue from other Florence museums, including the world-famous Uffizi gallery.

With all the galleries sprouting up along H Street NE, the neighborhood may be on its way to becoming Washington's next big arts district, and another addition this weekend will certainly help the area's credibility. G Fine Art, formerly housed along 14th Street, is taking up residence in the up-and-coming neighborhood.

The gallery celebrates its move to Northeast Washington on Saturday with a new exhibition and an opening reception. The work of A.B. Miner goes on display in "Naked," a show that strips down in more ways than one. In one diptych, Miner pulls back the curtain on his creative process, while a massive 12-panel painting shows a year in the life of a post-surgery expanse of skin from a landscape of stitches to a healed, though scarred, chest. Meanwhile the video piece "Fly 08" -- a riff on Yoko Ono's "Fly" -- features the interaction between an insect and a reclining nude figure.

The opening reception and awards ­ceremony for the Arts Council of Moore County’s 14th annual Young People’s Fine Arts Festival attracted a crowd of 500 young artists, art teachers and kinfolk to Campbell House on Friday, March 5.

First place awards went to Brooke Olinger, Episcopal Day; Halden Levin, Pinehurst Elementary; Victoria Landers, Sandhills Classical Christian; Wyatt Parson, Sandhills Classical Christian; Austin Cook, Vass-Lakeview; Berenice Lopez, Elise Middle; Miss Wolfe’s Second Grade Class, S.T.A.R.S Charter; Katie Lamb, West Pine; Grace Ann Longfellow, West Pines; Clem McKenzie, Pinecrest High; Amber Robinson, Pinecrest High; Caroline Hudson, Pinecrest High; Miranda Estep, Union Pines High; Jose Lavelle, Union Pines High; and Claire Lenahan, Union Pines High.

Winning second place awards were Chase Watson, Carthage Elementary; Ali Royal, Sandhills Classical Christian; Samantha Clark, Sandhills Farmlife; Bridget White, Sandhills Farmlife; Karina Franco, Vass-Lakeview; Justin Hall, New Century Middle; Austin D’Atri, S.T.A.R.S Charter; Claire Shadomy, Union Pines; Mason Williams, North Moore High; Sarah Wilson, Pinecrest High; Bernadine Dembosky, The O’Neal School; Lindsay Waters, The O’Neal School; and Bennett Westling, The O’Neal School.

Receiving third place awards were Nita Reynolds, Cameron Elementary; T. Dalton McBryde, Pinehurst Elementary; Eliza Athans, Sandhills Classical Christian; L’Asia Jackson, West End Elementary; Emma Williams, Elise Middle; Kestra Alzner, New Century Middle; Eli Cole, West Pine Middle; Stephanie McNeil, North Moore High; Megan Fruchte, Pinecrest High; Laura Ott, Pinecrest High; Heather Sinsley, Pinecrest High; Crystal Little, Union Pines High; and Sasha Richman, The O’Neal School.

Honorable mentions were given to Caleb W. Hickey, Blue Farm Academy Homeschool; Jackson Jernigan, Cameron Elementary; Khalita Person, Carthage Elementary; Bryson Steed, Vass-Lakeview Elementary; Maudie Chalfinch, New Century Middle; Mrs. Varner’s Second Grade Class, S.T.A.R.S Charter; Amber Robinson, Pinecrest High; Claire Lenahan, Union Pines High; Hannah Burns, The O’Neal School; Katie Dyer, The O’Neal School; Jodie Ballie, Camryn Baldwin, Danielle Howland and Victoria Strunk, The O’Neal School.

The “People’s Choice” award was given to Rachel Denneny, a fourth-grade student at Vass-Lakeview Elementary, for her 3-D sculpture, “Splatterbug.”

“The Arts Council would like to thank the ­festival’s major sponsor, George W. Little and Associates Inc., and Whistle Stop Press Inc. for providing the printing,” says Chris Dunn, ­executive director.

There was a time, not too long ago, when ripping off other people was a lot easier ... and a lot more rewarding. We're not talking about bad rap or tween country rock stars, we're talking about actual artists: the talented liars, the meticulous copycats—the forgers. With an eye for detail and stunning ability to trick even the buffest history buffs, they sold popular Renaissance busts and paintings to unsuspecting buyers, even our very own Isabella Stewart Gardner.

Instead of getting pissed off (as most of us would), Gardner still appreciated the talent behind these forged busts, and continued to display them in some of the most prominent places in the museum. Discovering a fake requires some detective work, but unlike in CSI, it took about 30 years to draw a definitive conclusion. "There are a few ways of testing dates," says Alan Chong, the museum curator. "There's something called thermoluminescence, which is a way of testing fired clay. It provides an approximate firing date, so we can tell roughly if something was made in the 15th century or the 16th century, or 100 years ago." Though almost all of the busts in the museum checked out, a few looked suspicious. Years and years of scholarly speculation has led to the verdict that the busts are, in fact, fakes. At the turn of the century, forgeries were often bought and sold to Renaissance superfans ... some with possible knowledge of the forgery, some without. "I think people wanted to have really nice-looking examples of the work, so they were attracted to these copies that were in better condition," says Chong. "They were buying a McMansion version of the work of art, I suppose."

What once would have been a source of embarrassment now offers an opportunity to study preservation and re-creation during the museum's Italian Renaissance and terracotta sculpture exhibition. The works, divided into two distinct types (religious figures and busts), are all made with similar terracotta clay. The artist molded the clay when it was still wet, allowing a freer, more adaptable medium. "Unlike carving marble, you can choose things along the way, so it is easier to capture emotion more directly," says Chong. "You can see the blood and tears on the Christ figures. I think it is a more direct way of communicating religious meaning."

Scientists and curators have been working diligently for the past three years to preserve many of the most monumental pieces, restoring them to their original splendor. These include works from Matteo Civitali and Giovanni de Fondulis ... the latter was discovered only recently. "His work has always been respected," says Chong, "however, it was only recently discovered to be done by this man that no one has ever heard of. Pretty exciting."

The beauty and elegance of the Italian Renaissance restored, the museum encourages art lovers to experience the emotionality and turmoil of the sculptures. Feel free to fake it, too.

Art fans have just a few weeks left to see a celebrated sculpture before it leaves Northumberland next month.

Stella McCartney's stunning three metre high leaping horse Lucky Spot is to be removed from display at Belsay Hall, Castle and Gardens on April 18.

The sculpture made from more than 8000 Swarovski crystals was created by the internationally renowned fashion designer specifically for the Grade I historic site in 2004 as part of Fashion at Belsay.

One of the venue's most popular attractions was returned by popular demand last Easter and attracted thousands of additional visitors .

Rob Flower, head of visitor operations for English Heritage in the North East, said: "We were fortunate enough to be able to bring Lucky Spot back to Belsay last spring."

Lucky Spot's current home will be closed for two weeks for the installation of its replacement. Contemporary arts exhibition, Extraordinary Measures, will open on May 1.

Running until the end of September, the exhibition will take visitors of all ages into a world of dark enchantment.

Highlights among the specially commissioned installations - most of which are being seen for the first time in the UK - will include the premiere of new hyper-realistic sculptures by Ron Mueck in the 19th Century rooms and photographs of tiny day-trippers facing everyday dramas within the gardens of Belsay, as documented by urban artist Slinkachu.

To mark Lucky Spot's departure, English Heritage is giving visitors over the Easter holidays the chance to win a selection of prizes, if they are able to find the hidden 'Lucky Spots' dotted around the castle, hall and gardens.