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Lamoral, Count of Egmont, Taking Leave of His Wife
Ručne maľovaná olejná reprodukcia od $281 36 × 28 cm
Veľkosť rovnaká ako originál $1295 214 × 163 cm Objednať v originálnej veľkosti →
Obraz, ktorý priniesol slávu Adèle Kindt, je Lamoral, Count of Egmont, Taking Leave of His Wife (1826); visí v galérii Museum of Fine Arts Ghent (MSK), Ghent. The Fortune Teller (1828) a Young Polish Freedom Fighter (1834) ich nasledujú v srdciach zberateľov a návštevníkov múzeí. Z 4 diel umelca Adèle Kindt v našom katalógu je týchto 4 najobdivovanejších, pričom každá je prezentovaná s dátumom jej vytvorenia, názvom múzeja a unikátnými vlastnostvami.
Poriadkované podľa nášho skóre popularity, ktoré kombinuje počet vyhľadávaní, návštev a objednávok pre každé dielo. Aktualizované november 2026. Každé majstrovské dielo na tejto stránke si môžete objednať ako ručne maľovanú olejobraskovú reprodukciu múzeálnej kvality alebo ako umeleckú tlač, v rozmeroch podľa vašej voľby.
3 múzeá, v ktorých sa nachádza najviac obrazov z tejto stránky.
| Múzeá | Mesto | Diela umelca Adèle Kindt | Obrazy z tohto zoznamu |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
Ghent | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Kráľovské múzeum výtvarných umení Antverpy |
Antverpy | 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), Ghent. Nasledujú The Fortune Teller (1828) a Young Polish Freedom Fighter (1834).
22 rokov: Lamoral, Count of Egmont, Taking Leave of His Wife vzniklo v roku 1826 a Adèle Kindt sa narodil/a v roku 1804.
Náš katalóg obsahuje 4 diel umelca Adèle Kindt z perioda od 1826 do 1840.
Väčšina z nich sa nachádza v Museum of Fine Arts Ghent (MSK) (Ghent), Kráľovské múzeum výtvarných umení Antverpy (Antverpy) a Museum of Fine Arts (Boston). Tabuľka vyššie uvádza jednotlivé múzeá.
V období 1820s: 2 z 4 diel na tejto stránke pochádza z tohto obdobia, pričom medzi nimi je Lamoral, Count of Egmont, Taking Leave of His Wife.
Najstaršie dielo na tejto stránke pochádza z Lamoral, Count of Egmont, Taking Leave of His Wife (1826), najnovšie z Faith, Hope and Charity (1840).
Lamoral, Count of Egmont, Taking Leave of His Wife a Young Polish Freedom Fighter sa nachádzajú medzi 2 dielami na tejto stránke, ktoré vlastní Museum of Fine Arts Ghent (MSK), Ghent.
Áno. Každý obraz na tejto stránke si môžete objednať ako ručne maľovanú olejobraskovú reprodukciu múzeálnej kvality alebo ako umeleckú tlač, v požadovanom rozмере, priamo na stránke daného obrazu.
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.