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Lamoral, Count of Egmont, Taking Leave of His Wife
Käsinmaalattu öljyreprosentio alkaen $281 36 × 28 cm
Alkuperäisen kokoinen $1295 214 × 163 cm Tilaa alkuperäisen kokoisena →
Maalaus, joka teki Adèle Kindt kuuluisaksi, on Lamoral, Count of Egmont, Taking Leave of His Wife (1826); se on esillä Museum of Fine Arts Ghent (MSK) -museossa, kaupungissa Gent. The Fortune Teller (1828) ja Young Polish Freedom Fighter (1834) seuraavat perässä keräilijöiden ja museovieraiden suosikeissa. Adèle Kindt teoksista 4 teoksen valikoimassamme nämä 4 ovat arvostetuimpia; jokaisesta on esitelty päivämäärä, museo sekä teoksen erityispiirteet.
Sijoitus perustuu suosiotulokseemme, joka yhdistää kunkin teoksen hakuja, vierailuja ja tilauksia. Päivitetty marraskuu 2026. Jokainen tämän sivun mestariteos on tilattavissa museolaatuisena, käsinmaalattuna öljyreproduktiona tai taideprinttinä valitsemassasi koossa.
Tämän sivun teoksista eniten sisältävät 3 museota.
| Museo | Kaupunki | Adèle Kindt teokset | Tämän listan maalaukset |
|---|---|---|---|
 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 |
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. Seuraavina ovat The Fortune Teller (1828) ja Young Polish Freedom Fighter (1834).
22 vuotta vanha: Lamoral, Count of Egmont, Taking Leave of His Wife on peräisin vuodelta 1826 ja Adèle Kindt on syntynyt vuonna 1804.
Luettelossamme on 4 teosta taiteilijalta Adèle Kindt, aikaväliltä 1826–1840.
Suurin osa niistä sijaitsee kohteessa Museum of Fine Arts Ghent (MSK) (Gent), Royal Museum of Fine Arts Antwerp (Antwerpen) ja Museum of Fine Arts (Boston). Yllä oleva taulukko listaa museot yksitellen.
Ajanjaksona 1820s: 2 sivun 4 teoksista on peräisin tuolta ajalta, mukaan lukien Lamoral, Count of Egmont, Taking Leave of His Wife.
Tämän sivun vanhin on Lamoral, Count of Egmont, Taking Leave of His Wife (1826) ja uusin Faith, Hope and Charity (1840).
Lamoral, Count of Egmont, Taking Leave of His Wife ja Young Polish Freedom Fighter ovat yksi 2 teoksesta tällä sivulla, jotka kuuluvat Museum of Fine Arts Ghent (MSK), Gent kokoelmaan.
Kyllä. Jokainen tämän sivun maalauksista voidaan tilata museolaatuisena, käsinmaalattuna öljyreprospektina tai taidepainoksena valitsemassasi koossa suoraan maalauksen omalta sivulta.
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.