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Lamoral, Count of Egmont, Taking Leave of His Wife
Reprodução em óleo pintada à mão de $281 36 × 28 cm
Mesmo tamanho da original $1295 214 × 163 cm Encomendar no tamanho original →
A pintura que tornou Adèle Kindt famoso(a) é Lamoral, Count of Egmont, Taking Leave of His Wife (1826); ela está exposta no Museum of Fine Arts Ghent (MSK), em Gante. The Fortune Teller (1828) e Young Polish Freedom Fighter (1834) seguem-lhes nos corações de colecionadores e visitantes de museus. Dos 4 trabalhos de Adèle Kindt em nosso catálogo, estas 4 são as obras mais admiradas, cada uma apresentada com a sua data, o seu museu e o que a torna única.
Classificado de acordo com o nosso índice de popularidade, que combina buscas, visitas e pedidos de cada obra. Atualizado em Novembro 2026. Cada obra-prima nesta página pode ser encomendada como uma reprodução em óleo pintada à mão, com qualidade de museu, ou como uma impressão de fine art, no tamanho de sua escolha.
Os 3 museus que detêm a maioria das pinturas desta página.
| Museus | Cidade | Obras de Adèle Kindt | Pinturas desta lista |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
Gante | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Royal Museum of Fine Arts Antwerp |
Antuérpia | 1 | The Fortune Teller |
 Museu de Belas Artes de Boston |
Boston | 1 | Faith, Hope and Charity |
Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Museum of Fine Arts Ghent (MSK), Gante. Seguem-se The Fortune Teller (1828) e Young Polish Freedom Fighter (1834).
22 anos: Lamoral, Count of Egmont, Taking Leave of His Wife data de 1826 e Adèle Kindt nasceu em 1804.
Nosso catálogo lista 4 obras de Adèle Kindt, datadas de 1826 a 1840.
A maioria deles está em Museum of Fine Arts Ghent (MSK) (Gante), Royal Museum of Fine Arts Antwerp (Antuérpia) e Museu de Belas Artes de Boston (Boston). A tabela acima lista os museus um a um.
Em 1820s: 2 das 4 obras nesta página datam dessa época, entre elas Lamoral, Count of Egmont, Taking Leave of His Wife.
A obra mais antiga nesta página é de Lamoral, Count of Egmont, Taking Leave of His Wife (1826), e a mais recente é de Faith, Hope and Charity (1840).
Lamoral, Count of Egmont, Taking Leave of His Wife e Young Polish Freedom Fighter estão entre as 2 obras nesta página pertencentes ao Museum of Fine Arts Ghent (MSK), Gante.
Sim. Todas as pinturas desta página podem ser encomendadas como uma reprodução em óleo pintada à mão com qualidade de museu ou como uma impressão de fine art, no tamanho de sua escolha, a partir da própria página da pintura.
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.