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Lamoral, Count of Egmont, Taking Leave of His Wife
Reproduction à l'huile peinte à la main à partir de $281 36 × 28 cm
Format original $1295 214 × 163 cm Commander le format original →
Le tableau qui a fait la renommée de Adèle Kindt est Lamoral, Count of Egmont, Taking Leave of His Wife (1826) ; il est exposé au Musée des Beaux-Arts de Gand (MSK), à Gand. The Fortune Teller (1828) et Young Polish Freedom Fighter (1834) les suivent dans le cœur des collectionneurs et des visiteurs de musées. Sur les 4 œuvres de Adèle Kindt présentes dans notre catalogue, voici les 4 plus admirées, chacune présentée avec sa date, son musée et ce qui la distingue.
Classé selon notre score de popularité, qui combine les recherches, les visites et les commandes pour chaque œuvre. Mis à jour novembre 2026. Chaque chef-d'œuvre de cette page peut être commandé sous forme de reproduction à l'huile peinte à la main de qualité musée ou d'une impression d'art de haute qualité, dans le format de votre choix.
Les 3 musées qui détiennent la plupart des peintures de cette page.
| Musées | Ville | Œuvres de Adèle Kindt | Peintures de cette liste |
|---|---|---|---|
 Musée des Beaux-Arts de Gand (MSK) |
Gand | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Musée Royal des Beaux-Arts d'Anvers |
Anvers | 1 | The Fortune Teller |
 Musée des Beaux-Arts de Boston |
Boston | 1 | Faith, Hope and Charity |
Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Musée des Beaux-Arts de Gand (MSK), Gand. Viennent ensuite The Fortune Teller (1828) et Young Polish Freedom Fighter (1834).
22 ans : Lamoral, Count of Egmont, Taking Leave of His Wife date de 1826 et Adèle Kindt est né(e) en 1804.
Notre catalogue répertorie 4 œuvres de Adèle Kindt, datées de 1826 à 1840.
La plupart se trouvent dans Musée des Beaux-Arts de Gand (MSK) (Gand), Musée Royal des Beaux-Arts d'Anvers (Anvers) et Musée des Beaux-Arts de Boston (Boston). Le tableau ci-dessus répertorie les musées un par un.
En 1820s : 2 des 4 œuvres de cette page datent de cette époque, dont Lamoral, Count of Egmont, Taking Leave of His Wife.
La plus ancienne de cette page date de Lamoral, Count of Egmont, Taking Leave of His Wife (1826), la plus récente de Faith, Hope and Charity (1840).
Lamoral, Count of Egmont, Taking Leave of His Wife et Young Polish Freedom Fighter figurent parmi les 2 œuvres de cette page détenues par le Musée des Beaux-Arts de Gand (MSK), Gand.
Oui. Chaque tableau de cette page peut être commandé sous forme de reproduction à l'huile peinte à la main de qualité musée ou d'une impression d'art de haute qualité, dans la taille de votre choix, depuis la page propre au tableau.
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.