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Lamoral, Count of Egmont, Taking Leave of His Wife
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Картина, принесшая Adèle Kindt мировую славу, — это Lamoral, Count of Egmont, Taking Leave of His Wife (1826); она находится в Музей изящных искусств Гента (MSK), Гент. The Fortune Teller (1828) и Young Polish Freedom Fighter (1834) следуют за ними в сердцах коллекционеров и посетителей музеев. Из 4 работ Adèle Kindt в нашем каталоге эти 4 являются самыми признанными; для каждой указаны дата создания, музей и уникальные особенности.
Рейтинг основан на нашем показателе популярности, который учитывает количество поисковых запросов, посещений и заказов для каждой работы. Обновлено Ноябрь 2026. Каждое произведение на этой странице можно заказать как высококачественную масляную репродукцию ручной работы или художественную печать в любом выбранном вами размере.
3 музеев, в которых находится большинство картин со страницы.
| Музей | Город | Работы Adèle Kindt | Картины из этого списка |
|---|---|---|---|
 Музей изящных искусств Гента (MSK) |
Гент | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Королевский музей изящных искусств Антверпена |
Антверпен | 1 | The Fortune Teller |
 Музей изящных искусств |
Бостон | 1 | Faith, Hope and Charity |
Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Музей изящных искусств Гента (MSK), Гент. Далее следуют The Fortune Teller (1828) и Young Polish Freedom Fighter (1834).
22 лет: Lamoral, Count of Egmont, Taking Leave of His Wife датируется 1826 годом, а Adèle Kindt родился в 1804.
В нашем каталоге представлено 4 работ Adèle Kindt, созданных в период с 1826 по 1840.
Большинство из них находятся в Музей изящных искусств Гента (MSK) (Гент), Королевский музей изящных искусств Антверпена (Антверпен) и Музей изящных искусств (Бостон). В таблице выше музеи перечислены по порядку.
За 1820s: 2 из 4 работ на этой странице относятся к этому периоду, в том числе Lamoral, Count of Egmont, Taking Leave of His Wife.
Самая ранняя работа на этой странице датирована Lamoral, Count of Egmont, Taking Leave of His Wife (1826), самая поздняя — Faith, Hope and Charity (1840).
Lamoral, Count of Egmont, Taking Leave of His Wife и Young Polish Freedom Fighter — одни из 2 работ на этой странице, хранящихся в Музей изящных искусств Гента (MSK), Гент.
Да. Каждую картину на этой странице можно заказать как высококачественную масляную репродукцию ручной работы или художественную печать в выбранном вами размере на странице самой картины.
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.