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Article

David Rodgers

(b Wormsley Grange, Hereford & Worcs, Feb 11, 1751; d London, April 23, 1824).

English writer, connoisseur and collector (see fig.). He was the son of a clergyman from a wealthy dynasty of iron-masters. His father died in 1764, and shortly afterwards he inherited a considerable estate from his uncle, which ensured his financial independence. He was a sickly child and was educated at home, becoming well versed in Classical history, Latin and Greek. In 1772 he travelled in France and Italy and was abroad again in 1776, touring Switzerland with the landscape painter John Robert Cozens. The following year he travelled to Sicily on an archaeological expedition taking with him the painters Philipp Hackert and his pupil, the amateur artist Charles Gore (1729–1807). Knight kept a detailed journal (Weimar, Goethe- & Schiller-Archv) illustrated by his companions and on his return to England commissioned Cozens and Thomas Hearne to paint watercolours (London, BM) from Hackert’s and Gore’s sketches (London, BM). It seems probable that the journal was intended for publication and that the expedition may have had an entrepreneurial aspect, as archaeology was a fashionable subject and the Sicilian sites largely unexplored....

Article

Leonée Ormond

(b Bristol, April 13, 1769; d London, Jan 7, 1830).

English painter and collector. He was the finest portrait painter of his generation in Europe and the last English inheritor of the legacy of van Dyck. His technical facility and rapid and enormous public success should not obscure the originality and self-consciousness of his imagination. He also formed a superb collection of Old Master drawings.

An attractive child, he was one of the youngest of a large family. His early life was dominated by the personality of his lazy and improvident father, who was innkeeper from 1772 of the Black Bear at Devizes, Wilts, an inn popular with travellers to the fashionable spa at Bath. He was encouraged to entertain his father’s customers, first by giving recitations, and then, when an aptitude for drawing declared itself, by sketching pencil portraits. Those of Lloyd Kenyon and Mary Kenyon, later 1st Baron and Lady Kenyon (both Lord Kenyon priv. col., see 1979...

Article

Roberta J. M. Olson

(b Bologna, 15 May ?1775–7; d Turin, March 6, 1860).

Italian painter, architect, designer and collector. At the age of 12 he began to frequent the house in Bologna of his patron Conte Carlo Filippo Aldrovandi Marescotti (1763–1823), whose collections and library provided his early artistic education and engendered his taste for collecting. From 1795 he worked on several decorative schemes with the theatre designer and decorator Antonio Basoli (1774–1848), and it was perhaps in theatre designs that Palagi was first exposed to an eclectic range of motifs from exotic cultures. He was influenced by the linear, mannered style of Felice Giani, with whom he frequented the important evening drawing sessions at the house of the engraver Francesco Rosaspina (1762–1841). Beginning in 1802, he participated in the informal Accademia della Pace, Bologna, as well as studying at the Accademia Clementina, and was elected to the Accademia Nazionale di Belle Arti of Bologna in 1803...

Article

Marie-Claude Chaudonneret

(b Lyon, June 12, 1776; d Lyon, March 19, 1842).

French painter and collector. He entered the Ecole de Dessin in Lyon around 1791 as a pupil of Alexis Grognard (1752–1840). He then became a designer in a wallpaper factory. In 1795 he began working in Jacques-Louis David’s studio, where, with Fleury Richard, Comte Auguste de Forbin, François-Marius Granet and Louis Ducis, he belonged to what David’s pupils called the ‘parti aristocratique’. In 1800 he published with Forbin, who remained a friend, a comedy that was performed at the Théâtre du Vaudeville, Sterne à Paris, ou le voyageur sentimental. In 1802, on the occasion of the laying of the first stone of the Place Bellecoeur in Lyon by the First Consul, Révoil executed a large and elaborately allegorical drawing, Bonaparte Rebuilding the Town of Lyon (preparatory drawings, Paris, Louvre, and Lyon, Mus. B.-A.), which was the basis for a painting exhibited in the Salon of 1804 (destr. by the artist, ...