Question: Who made the claim that  Donatello made no secret of his homosexuality
About the article "Donatello", section "Major commissions in Florence".

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Around 1430, Cosimo de' Medici, the foremost art patron of his era, commissioned from Donatello the bronze David (now in the Bargello) for the court of his Palazzo Medici.
This is now Donatello's most famous work.
At the time of its creation, it was the first known free-standing nude statue produced since ancient times.
Conceived fully in the round, independent of any architectural surroundings, and largely representing an allegory of the civic virtues triumphing over brutality and irrationality, it was the first major work of Renaissance sculpture.
Also from this period is the disquietingly small "Love-Atys", housed in the Bargello.
Some have perceived the David as having homo-erotic qualities, and have argued that this reflected the artist's own orientation.
Details of Donatello's relationships remain speculative.
The historian Paul Strathern makes the claim that Donatello made no secret of his homosexuality, and that his behaviour was tolerated by his friends.
This may not be surprising in the context of attitudes prevailing in the 15th- and 16th-century Florentine republic.
However, little detail is known with certainty about his private life, and no mention of his sexuality has been found in the Florentine archives (in terms of denunciations) albeit which during this period are incomplete.
The main evidence comes from anecdotes by Angelo Poliziano in his ""Detti piacevoli"".
When Cosimo was exiled from Florence, Donatello went to Rome, remaining until 1433.
The two works that testify to his presence in this city, the "Tomb of Giovanni Crivelli" at Santa Maria "in Aracoeli", and the "Ciborium" at St. Peter's Basilica, bear a strong stamp of classical influence.
Donatello's return to Florence almost coincided with Cosimo's.
In May 1434, he signed a contract for the marble pulpit on the facade of Prato cathedral, the last project executed in collaboration with Michelozzo.
This work, a passionate, pagan, rhythmically-conceived bacchanalian dance of half-nude putti, was the forerunner of the great "Cantoria", or singing tribune, at the Duomo in Florence on which Donatello worked intermittently from 1433 to 1440 and was inspired by ancient sarcophagi and Byzantine ivory chests.
In 1435, he executed the "Annunciation" for the Cavalcanti altar in Santa Croce, inspired by 14th-century iconography, and in 1437–1443, he worked in the Old Sacristy of the San Lorenzo in Florence, on two doors and lunettes portraying saints, as well as eight stucco tondoes.
From 1438 is the wooden statue of St. John the Evangelist for Santa Maria Gloriosa dei Frari in Venice.
Around 1440, he executed a bust of a "Young Man with a Cameo" now in the Bargello, the first example of a lay bust portrait since the classical era.
Lehman Engel made no secret of his homosexuality, but in his autobiography "This Bright Day" (1974) he made no overt reference to it. 
Mirage Comics.
In the comics, Donatello is originally presented along with Leonardo as one of the two calmer turtles.
While the comics portrayal of the team has no official command structure, in the early stories he is depicted as second-in-command.
In the first issue, he is the one that killed the Shredder by knocking him and his grenade off the roof.
The second issue elaborated more on each turtles' personalities and opened with Donatello soldering a circuit.
Later in the issue, Donatello states that he is "familiar with some computer systems" and helps April O'Neil deactivate the Mousers.
During the turtles' exile to Northampton, Donatello becomes obsessed with fixing up and repairing the many broken things within the farmhouse they were living in.
Most notably he spent days and nights fixing the boiler to give his family hot running water and builds a windmill and a water wheel to provide electricity.
He also finds an old type writer and writes his own personal credo.
In the Donatello one shot, Donatello encounters an artist called Kirby (an homage to the comic artist Jack Kirby) whose mysterious crystal brings his drawings to life before disappearing.
The two newfound friends journey to a dimension inhabited by Kirby's creations and help the heroes defeat the invading monsters.
In the "Shades of Grey" storyline, Casey Jones encounters the turtle by a ravine as he was pondering "the fractal structure of natural patterns".
Casey accuses the turtle of using big words and acting better than everyone else.
Donatello suggests they should continue the conversation when Casey is sober.
Grabbing a stick, an angry Jones continually pokes the turtle until he loses his temper and sends Casey careening into the water.
In the "City at War" storyline, the turtles return to New York to put an end to the Foot Clan's civil war.
During a battle with Shredder's Elite Guards in the ruins of the Second Time Around Shop, Donatello falls through the floor and breaks his leg.
Seeing their ally Karai subdued and about to be killed, Donatello grabs one of the Foot's machine guns and repeatedly shoots the Foot Elite.
Donatello is visibly shaken by the violence and throws the gun away.
At the end of the story the turtles, April and Casey move back to New York save for Donatello who chooses to stay in Northampton with Master Splinter to heal from his injury as well as reflect on everything that had happened.
While meditating with Splinter, Donatello receives a vision of the future where he is in the village of Chihaya in Japan.
When Donatello asks what he would be doing there, his master simply replies "To bury me".
After encountering the turtle vigilante ally Nobody in civilian guise he returns with him to New York to help his brothers battle Baxter Stockman.
In the current comics, Donatello finds an armored truck in the sewers which apparently had been part of a bank robbery in the sixties.
Along with Raphael and Casey Jones undertakes the task of fixing up the vehicle.
After the death of Splinter, Donatello secretly goes to his body and asks forgiveness before clipping something off him.
Shortly after, Donatello decides to accompany the Utroms on a mission to Tepui to search for two missing research teams.
The group are attacked by strange wooden creatures who shrink them to miniature size.
The creatures turn out to be a group of Utroms which had been stranded in the Jungle during their first stay on Earth and had been living in secret thanks to their Quantum Inversion Redimensioning device which could alter their size.
The process could not be reversed on Donatello, possibly due to his mutation, leaving him the size of an action figure.
While the Utroms work on returning him to normal, Donatello put his new size to use infiltrating a terrorist organizations warehouse.
He's also made a robotic body for him made to resemble a turtle to help him move around.
This incarnation of Donatello appeared in the "Turtles Forever" crossover special voiced by Christopher C. Adams. 
Donatello was the son of Niccolò di Betto Bardi, who was a member of the Florentine Wool Combers Guild, and was born in Florence, most likely in the year 1386.
Donatello was educated in the house of the Martelli family.
He apparently received his early artistic training in a goldsmith's workshop, and then worked briefly in the studio of Lorenzo Ghiberti.
While undertaking study and excavations with Filippo Brunelleschi in Rome (1404–1407), work that gained the two men the reputation of treasure seekers, Donatello made a living by working at goldsmiths' shops.
Their Roman sojourn was decisive for the entire development of Italian art in the 15th century, for it was during this period that Brunelleschi undertook his measurements of the Pantheon dome and of other Roman buildings.
Brunelleschi's buildings and Donatello's sculptures are both considered supreme expressions of the spirit of this era in architecture and sculpture, and they exercised a potent influence upon the artists of the age. 
Kripal labeled some of Ramakrishna's words "secret talk" and believed them to be "too troubling or important to reveal to any but [Ramakrishna's] most intimate disciples"Several critics, including Tyagananda, Openshaw, Larson, and Radice object to Kripal use of the word "secret", which did not exist in the original source.
In a 1997 review, Colin Robinson noted that the texts "exposed" by Kripal had been readily available in Bengali since 1932, when the final volume of the "Kathamrita" was published; and that Kripal used the thirty-first edition of the Kathamrita (1987).
Openshaw argued that it was highly unlikely that any act considered "homosexual" would have been defended by the disciples (homosexuality was rigorously repressed in Indian society of the time), let alone immortalised in print by a devotee.
Larson wrote that "Even Freud, with all of his reductionist tendencies, would have been highly suspicious and critical" about Mahendranath Gupta's so-called "secret" material, if for no other reasons than the temporal distance between his notes and the publication of the "Kathamrita".
Radice wrote of the discrepancy between the small amount of "secret talk" cited by Kripal (18 occurrences) and the amount of analysis he derived from them, and asked "Has Kripal made a mountain out of molehill?"
He then quoted Kripal's claim that those passages, plus other non-"secret" passages that touch on similar themes, are the key to Ramakrishna's mysticism and a lens through which one can validly read the whole "Kathamrta".
In his extensive 2000 review, Tyagananda wrote that Ramakrishna's "secret" talks were neither troubling nor secret, having been said in the presence of a large number of visitors, with the doors open.
According to Tyagananda, Kripal's "secret talks" is a mistranslation of "guhya katha", which in the context means the "esoteric" or "deeper meaning" of a scripture.