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Lamoral, Count of Egmont, Taking Leave of His Wife
Håndmalt oljereproduksjon fra $281 36 × 28 cm
Samme størrelse som originalen $1295 214 × 163 cm Bestill i original størrelse →
Maleriet som gjorde Adèle Kindt berømt er Lamoral, Count of Egmont, Taking Leave of His Wife (1826); det henger i Museum of Fine Arts Ghent (MSK), Gent. The Fortune Teller (1828) og Young Polish Freedom Fighter (1834) følger etter i hjertene til samlere og museumsgjester. Av de 4 verkene til Adèle Kindt i vår katalog, er disse 4 de mest beundrede, hver presentert med dato, museum og hva som gjør dem unike.
Rangert etter vår popularitetsscore, som kombinerer søk, besøk og bestillinger for hvert verk. Oppdatert November 2026. Hvert mesterverk på denne siden kan bestilles som en håndmalt oljereproduksjon av museumskvalitet eller som et kunsttrykk, i den størrelsen du velger.
De 3 museene som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Adèle Kindt | Malerier fra denne listen |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
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 of Fine Arts Ghent (MSK), Gent. Deretter følger The Fortune Teller (1828) og Young Polish Freedom Fighter (1834).
22 år gammel: Lamoral, Count of Egmont, Taking Leave of His Wife er fra 1826, og Adèle Kindt ble født i 1804.
Vår katalog inneholder 4 verk av Adèle Kindt, datert fra 1826 til 1840.
De fleste av dem befinner seg i Museum of Fine Arts Ghent (MSK) (Gent), Koninklijk Museum voor Schone Kunsten Antwerpen (Antwerpen) og Museum of Fine Arts (Boston). Tabellen ovenfor lister opp museene ett etter ett.
I 1820s: 2 av de 4 verkene på denne siden er fra denne perioden, inkludert Lamoral, Count of Egmont, Taking Leave of His Wife.
Det eldste på denne siden er Lamoral, Count of Egmont, Taking Leave of His Wife (1826), det nyeste Faith, Hope and Charity (1840).
Lamoral, Count of Egmont, Taking Leave of His Wife og Young Polish Freedom Fighter er blant de 2 verkene på denne siden som er i Museum of Fine Arts Ghent (MSK), Gent sin samling.
Ja. Hvert maleri på denne siden kan bestilles som en håndmalt oljereproduksjon av museumskvalitet eller som et kunsttrykk i ønsket størrelse, direkte fra maleriets egen side.
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.