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Lamoral, Count of Egmont, Taking Leave of His Wife
Handgeschilderde olieverfreproductie vanaf $281 36 × 28 cm
Zelfde formaat als het origineel $1295 214 × 163 cm Bestel in de originele afmetingen →
Het schilderij dat Adèle Kindt beroemd maakte is Lamoral, Count of Egmont, Taking Leave of His Wife (1826); het hangt in het Museum voor Schone Kunsten Gent, Gent. The Fortune Teller (1828) en Young Polish Freedom Fighter (1834) volgen in de harten van verzamelaars en museumbezoekers. Van de 4 werken van Adèle Kindt in onze catalogus zijn dit de 4 meest bewonderde, elk gepresenteerd met de datum, het museum en wat het uniek maakt.
Gerangschikt op basis van onze populariteitsscore, die de zoekopdrachten, bezoeken en bestellingen voor elk werk combineert. Bijgewerkt in november 2026. Elk meesterwerk op deze pagina kan worden besteld als een handgeschilderde olieverfreproductie van museumkwaliteit of als een fine art print, in de door u gekozen afmeting.
De 3 musea met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Adèle Kindt | Schilderijen uit deze lijst |
|---|---|---|---|
 Museum voor Schone Kunsten Gent |
Gent | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Koninklijk Museum voor Schone Kunsten 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 voor Schone Kunsten Gent, Gent. Daarna volgen The Fortune Teller (1828) en Young Polish Freedom Fighter (1834).
22 jaar oud: Lamoral, Count of Egmont, Taking Leave of His Wife dateert uit 1826 en Adèle Kindt werd geboren in 1804.
Onze catalogus bevat 4 werken van Adèle Kindt, gedateerd van 1826 tot 1840.
De meeste bevinden zich in Museum voor Schone Kunsten Gent (Gent), Koninklijk Museum voor Schone Kunsten Antwerpen (Antwerpen) en Museum of Fine Arts (Boston). De bovenstaande tabel somt de musea één voor één op.
In 1820s: 2 van de 4 werken op deze pagina dateren uit die periode, waaronder Lamoral, Count of Egmont, Taking Leave of His Wife.
De oudste op deze pagina is Lamoral, Count of Egmont, Taking Leave of His Wife (1826), de nieuwste Faith, Hope and Charity (1840).
Lamoral, Count of Egmont, Taking Leave of His Wife en Young Polish Freedom Fighter behoren tot de 2 werken op deze pagina die in het Museum voor Schone Kunsten Gent, Gent worden bewaard.
Ja. Elk schilderij op deze pagina kan worden besteld als een handgeschilderde olieverfreproductie van museumkwaliteit of als een fine art print, in de door u gekozen afmeting, via de eigen pagina van het schilderij.
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.