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Lamoral, Count of Egmont, Taking Leave of His Wife
Ručno oslikana uljana reprodukcija od $281 36 × 28 cm
Isti veličine kao i original $1295 214 × 163 cm Naručite u izvornim dimenzijama →
Slika koja je proslavila Adèle Kindt je Lamoral, Count of Egmont, Taking Leave of His Wife (1826); nalazi se u muzeju Museum of Fine Arts Ghent (MSK), Gent. The Fortune Teller (1828) i Young Polish Freedom Fighter (1834) slijede nakon njih u srcima kolekcionara i posjetitelja muzeja. Od 4 djela umjetnika Adèle Kindt u našem katalogu, ovih 4 najcenjenijih, a svako je predstavljeno s datumom nastanka, muzejom i onim što ga izdvaja.
Rangirano prema našoj ocjeni popularnosti, koja objedinjuje broj pretraživanja, posjeta i narudžbi za svako djelo. Ažurirano Studeni 2026. Svako remek-dielo na ovoj stranici može se naručiti kao ručno oslikana uljana reprodukcija muzejske kvalitete ili kao umjetnička štampa, u dimenzijama koje odaberete.
3 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Adèle Kindt | Slike iz ovog popisa |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
Gent | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Kraljevski muzej fine umjetnosti u Antverpenu |
Antverp | 1 | The Fortune Teller |
 Muzej likovnih umjetnosti |
Boston | 1 | Faith, Hope and Charity |
Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Museum of Fine Arts Ghent (MSK), Gent. Sljedeći su The Fortune Teller (1828) i Young Polish Freedom Fighter (1834).
22 godina: Lamoral, Count of Egmont, Taking Leave of His Wife datira iz 1826, a Adèle Kindt je rođen/a 1804.
Naš katalog sadrži 4 djela umjetnika Adèle Kindt, datiranih od 1826 do 1840.
Većina njih se nalazi u Museum of Fine Arts Ghent (MSK) (Gent), Kraljevski muzej fine umjetnosti u Antverpenu (Antverp) i Muzej likovnih umjetnosti (Boston). Gornja tablica navodi muzeje jedan po jedan.
U razdoblju 1820s: 2 od ukupno 4 djela na ovoj stranici datira iz tog vremena, među kojima je i Lamoral, Count of Egmont, Taking Leave of His Wife.
Najstarije djelo na ovoj stranici je iz Lamoral, Count of Egmont, Taking Leave of His Wife (1826), a najnovije iz Faith, Hope and Charity (1840).
Lamoral, Count of Egmont, Taking Leave of His Wife i Young Polish Freedom Fighter su među 2 djela na ovoj stranici koja se nalaze u muzeju Museum of Fine Arts Ghent (MSK), Gent.
Da. Svako djelo na ovoj stranici možete naručiti kao ručno oslikano ulje na platnu muzejske kvalitete ili kao umjetničku tisku, u odabranoj veličini, izravno sa stranice samog djela.
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.