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Lamoral, Count of Egmont, Taking Leave of His Wife
Ručně malovaná olejná reprodukce od $281 36 × 28 cm
Velikost jako originál $1295 214 × 163 cm Objednat v originální velikosti →
Obrazem, díky němuž se Adèle Kindt stal slavným, je Lamoral, Count of Egmont, Taking Leave of His Wife (1826); visí v Museum of Fine Arts Ghent (MSK) v místě Ghent. The Fortune Teller (1828) a Young Polish Freedom Fighter (1834) následují v srdcích sběratelů i návštěvníků muzeí. Z 4 děl umělce Adèle Kindt v našem katalogu je těchto 4 nejoblíbenějších, z nichž každé je uvedeno s datem vzniku, muzeem a unikátními rysy.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno říjen 2026. Každé dílo na této stránce lze objednat jako ručně malovanou olejovou reprodukci v muzeální kvalitě nebo jako umělecký tisk v požadovaném rozměru.
3 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzeum | Město | Díla autora Adèle Kindt | Obrazy z tohoto seznamu |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
Ghent | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Královské muzeum výtvarného umění Antverpy |
Antverpy | 1 | The Fortune Teller |
 Muzeum umění v Bostonu |
Boston | 1 | Faith, Hope and Charity |
Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Museum of Fine Arts Ghent (MSK), Ghent. Následují The Fortune Teller (1828) a Young Polish Freedom Fighter (1834).
22 let: dílo Lamoral, Count of Egmont, Taking Leave of His Wife pochází z roku 1826 a Adèle Kindt se narodil/a v roce 1804.
Náš katalog obsahuje 4 děl autora Adèle Kindt z let 1826 až 1840.
Většina z nich se nachází v Museum of Fine Arts Ghent (MSK) (Ghent), Královské muzeum výtvarného umění Antverpy (Antverpy) a Muzeum umění v Bostonu (Boston). V tabulce výše jsou jednotlivé muzea uvedeny postupně.
V období 1820s: 2 z 4 děl na této stránce pochází z tohoto období, z nich Lamoral, Count of Egmont, Taking Leave of His Wife.
Nejstarší dílo na této stránce pochází z Lamoral, Count of Egmont, Taking Leave of His Wife (1826), nejnovější z Faith, Hope and Charity (1840).
Lamoral, Count of Egmont, Taking Leave of His Wife a Young Polish Freedom Fighter patří mezi 2 děl na této stránce, která má v zastarání Museum of Fine Arts Ghent (MSK), Ghent.
Ano. Každý obraz na této stránce lze objednat jako ručně malovanou olejovou reprodukci v muzeální kvalitě nebo jako umělecký tisk v požadovaném rozměru přímo z jeho vlastní stránky.
Born into a Brussels family where female artistry was a shared language, Marie-Adélaïde Kindt entered the world on 16 December 1804. Her path was shaped early by the engraver Antoine Cardon, who provided her initial training in drawing. This foundation allowed her to move toward more complex studies under Sophie Rude and François-Joseph Navez. Even the presence of Jacques-Louis David offered a form of encouragement during her formative years.
Her early career was marked by a certain ambition that saw her navigating the male-dominated sphere of history painting. By age twenty-two, she had secured first prize at the Royal Academy in Ghent. Her talent was recognized through various medals in Douai, Kamerrijk, and Brussels. While her training was rooted in Neoclassicism, her brush often leaned toward the sensibilities of Romanticism.
The scope of her work shifted as the decades passed. Her early years were defined by historical scenes, most notably Épisode des journées de septembre 1830, which captured a moment from the Belgian Revolution. This particular work remains a significant part of her record, held within the Brussels city museum on the Grand-Place.
After the 1840s, Kindt’s focus moved away from large-scale historical narratives toward more intimate subjects. She turned her attention to portraiture and genre scenes, often depicting Flanders interiors or quiet, religious themes. Her later works included:
In these later pieces, she utilized chiaroscuro and a precise hand to render details. Her portraits of women and children often featured elements like birdcages or stained-glass windows, reflecting a shift toward the domestic and the everyday.
Kindt’s professional standing was solidified by her election to several prestigious institutions, including the Royal Academy of Fine Arts in both Brussels and Ghent. Her paintings found homes in significant collections, such as the Rijksmuseum Amsterdam, the Museum of Fine Arts Boston, and the Royal Museum of Fine Arts Antwerp.
She lived through a period of immense change in Belgian art, adapting her style to meet the shifting tastes of her public. Though she did not maintain the same level of success in her later years as she had during her early career, her technical skill remained evident in her draughtsmanship. She passed away in Brussels on 8 May 1893.