1
Lamoral, Count of Egmont, Taking Leave of His Wife
Käsitööna maalatud õlireproduction alates $281 36 × 28 cm
Originaadi suurusega $1295 214 × 163 cm Telli originaalkoguses →
Teos, mis tegi Adèle Kindt kuulsaks, on Lamoral, Count of Egmont, Taking Leave of His Wife (1826); see ripub Museum of Fine Arts Ghent (MSK)-is, Gent. The Fortune Teller (1828) ja Young Polish Freedom Fighter (1834) järgnevad nende järel samas kogumiste ja muuseumi külastajate lemmikes Sellest 4 teosest, mis Adèle Kindt teosena meie kataloogis on, on need 4 kõige imetlevamat, millist igaüks on esitatud koos kuupäeva, museumi ja oma eripärase tähelepanekuga.
Reiting põhineb meie populaarsusindeksil, mis koondab iga teose otsingud, külastused ja tellimused. Uuendatud november 2026. Iga selle lehekülje meistriteos on tellitav muuseumikvaliteedse käsitsi maalatuna õlireproduktsiona või fine art trükkina vastavalt valitud suurusele.
Kümne 3 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | Adèle Kindt teosid | Selle nimekirja maalid |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
Gent | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Royal Museum of Fine Arts Antwerp |
Antverp | 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. Järgnevad The Fortune Teller (1828) ja Young Polish Freedom Fighter (1834).
22 aastat vanus: teos Lamoral, Count of Egmont, Taking Leave of His Wife on aastatest 1826 ja kunstnik Adèle Kindt on sündinud aastal 1804.
Meie kataloogis on 4 teost kunstnikult Adèle Kindt, aastatest 1826 kuni 1840.
Enamik neist asub Museum of Fine Arts Ghent (MSK) (Gent), Royal Museum of Fine Arts Antwerp (Antverp) ja Museum of Fine Arts (Boston). Ülemal olev tabel on loetelnud muuseumid üks-eiralt.
Ajalisel perioodil 1820s: 2 4 sellel lehel olevat teost on sellest ajast, მათhulgas Lamoral, Count of Egmont, Taking Leave of His Wife.
Sellel lehel on kõige vanem teos Lamoral, Count of Egmont, Taking Leave of His Wife (1826) ja kõige uuem Faith, Hope and Charity (1840).
Lamoral, Count of Egmont, Taking Leave of His Wife ja Young Polish Freedom Fighter on üks 2 teosest sellel lehel, mida hoiab Museum of Fine Arts Ghent (MSK), Gent.
Jah. Iga maali sellel lehel on võimalik tellida muuseumikvaliteedilisena käsitööna valminud õlimaalina või fine art trükkina vastavalt valitud måõduna otse maali oma lehekülalt.
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.