In 1532–33, Michelangelo created a group of drawings for Tommaso de’ Cavalieri, some of which allude openly to the passion for Cavalieri that the artist professed in sonnets. More cryptic is the Children’s Bacchanal, which has resisted interpretation but opens to enriched understanding if dream analysis methods are used to explore Michelangelo’s creative process. A new reading suggests that Michelangelo plays referentially within his own formal vocabulary to represent the effect of love on artistic creativity. Figuring himself in coded ways, he also depicts Tommaso de’ Cavalieri in disguise, a reference that clarifies other images of Michelangelo’s beloved in his art.
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