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Lamoral, Count of Egmont, Taking Leave of His Wife
Håndmalet oliereproduktion fra $281 36 × 28 cm
Samme størrelse som originalen $1295 214 × 163 cm Bestil i original størrelse →
Maleriet, der gjorde Adèle Kindt berømt, er Lamoral, Count of Egmont, Taking Leave of His Wife (1826); det hænger på Museum of Fine Arts Ghent (MSK) i Gent. The Fortune Teller (1828) og Young Polish Freedom Fighter (1834) følger efter i samlernes og museumsgæsternes hjerter. Af de 4 værker af Adèle Kindt i vores katalog er disse 4 de mest beundrede, hver præsenteret med sit årstal, sit museum og det, der gør værket unikt.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret oktober 2026. Hvert mesterværk på denne side kan bestilles som en håndmalet oliereproduktion i museumskvalitet eller som et kunsttryk i den størrelse, du vælger.
De 3 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Adèle Kindt | Malerier fra denne liste |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
Gent | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Det Kongelige Museum for Fin Kunst Antwerpen |
Antwerpen | 1 | The Fortune Teller |
 Museum of Fine Arts |
Boston | 1 | Faith, Hope and Charity |
Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Museum of Fine Arts Ghent (MSK), Gent. Derefter følger The Fortune Teller (1828) og Young Polish Freedom Fighter (1834).
22 år gammel: Lamoral, Count of Egmont, Taking Leave of His Wife er fra 1826, og Adèle Kindt blev født i 1804.
Vores katalog indeholder 4 værker af Adèle Kindt, dateret fra 1826 til 1840.
De fleste af dem findes i Museum of Fine Arts Ghent (MSK) (Gent), Det Kongelige Museum for Fin Kunst Antwerpen (Antwerpen) og Museum of Fine Arts (Boston). Tabellen ovenfor lister museerne enkeltvis.
I 1820s: 2 af de 4 værker på denne side stammer fra denne periode, herunder Lamoral, Count of Egmont, Taking Leave of His Wife.
Det tidligste på denne side er Lamoral, Count of Egmont, Taking Leave of His Wife (1826), det seneste Faith, Hope and Charity (1840).
Lamoral, Count of Egmont, Taking Leave of His Wife og Young Polish Freedom Fighter er blandt de 2 værker på denne side, som er i Museum of Fine Arts Ghent (MSK), Gent's samling.
Ja. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion i museums kvalitet eller som et kunstprint i den størrelse, du ønsker, direkte fra maleriets egen side.
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.