Michelangelo’s Dream
16 February - 16 May 2010
Courtauld Institute Of Arts Gallery - Admission Charge
In 1532 Michelangelo Buonarotti met and fell in love with a handsome young Roman nobleman named Tommaso de Cavalieri. Their friendship resulted in a series of creative outpourings from Michelangelo; poems, letters and drawings. Though Michelangelo never uses the word ‘love’ in his writings, there is no doubt what he is alluding to in the following stanza:
Why must I still have this intense desire
Vented in tears and melancholy speech
Since heaven robes the soul in this fate which
Early or late it never can shake off
In 1533, Michelangelo produced The Dream, (Il Sogno), likely to have been one of the superb drawings that he gave to Cavalieri during the first years of their friendship. This group is at the focus of Michelangelo’s Dream, the exhibition current at the Courtauld Institute of Art gallery. Included in the group are The Punishment of Tityus, The Fall of Phaeton, A Bacchanal of Children and The Rape of Ganymede. In particular, the youth Tityus is endearingly handsome, and is most likely a representation of Cavalieri.
These drawings have not been seen together for over twenty years and this is the first time that The Dream has been shown as part of the group. Also, The Fall of Phaeton has been reunited with two earlier versions of this composition. The exhibition opens with Michelangelo’s earliest letter to Cavalieri, 1 January, 1533. The subject matter of the drawings is mythical and undoubtedly, allegorical. However, while the majority of the subjects are rooted in definite fables, the meaning of The Dream remains obscure. However, it has been much written about.
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| Michelangelo Buonarotti (1475 - 1564) The Dreamc. 1533 39.4 x 27.7 cm The Courtauld Gallery, London |
In the image, a winged youth is flying down while blowing a primitive trumpet close to the head of a man who is clutching what appears to be a large ball or globe. The man and globe are resting upon a chest that is opened front ways to reveal a number of masks depicting comedy, tragedy and so on, in the tradition of Greek drama. In the background are other, more shadowy figures; lovers, warriors and huntsmen. The masks and figures have been interpreted as representing the vices of lust, wrath and so on, but this is true only if they are interpreted within a strictly Christian point of view. I prefer to see them as representations of lust for life, love, sport and so on.
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| Michelangelo Buonarotti (1475 - 1564) Christ on the Cross 16th century 27.5 x 23.4 cm The Courtauld Gallery, London |
These ‘mythological’ exhibits are balanced by another group of drawings by Michelangelo of Christ’s resurrection, which concentrate on the heroic nude figure of the reborn Christ leaping free of the tomb. This group includes the Risen Christ, widely celebrated as one of the most magnificent figures in Michelangelo’s art. All the drawings on display are masterpieces, superbly executed in black chalk, in Michelangelo’s inimitable, splendid style. They are on display until 16 May.
Mary Phelan, 2010