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Lamoral, Count of Egmont, Taking Leave of His Wife
Ročno slikana oljna reprodukcija od $281 36 × 28 cm
Velikost kot pri originalu $1295 214 × 163 cm Naročite v originalni velikosti →
Slika, ki je prinesla slavo umetniku Adèle Kindt, je Lamoral, Count of Egmont, Taking Leave of His Wife (1826); razpostaja v muzeju Museum of Fine Arts Ghent (MSK), Gent. The Fortune Teller (1828) in Young Polish Freedom Fighter (1834) sledeta tem v srcih zbirateljev in obiskovalcev muzejev. Od 4 del umetnika Adèle Kindt v našem katalogu so teh 4 najbolj občudovalnih, od katerih je vsak predstavljen z letnico nastanka, muzejem in tistim, kar ga loči od drugih.
Uvrščeno glede na naš skoraj priljubljenosti, ki združuje število iskanj, obiskov in naročil za vsako delo. Posodobljeno november 2026. Vsako podobno delo na tej strani je mogoče naročiti kot muzejsko kakovostno ročno slikano oljno reprodukcijo ali umetniški natisk v izbrani velikosti.
3 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Adèle Kindt | Slike iz tega seznama |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
Gent | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Kraljevski muzej lepih umetnosti v Antwerpu |
Antverp | 1 | The Fortune Teller |
 Muzej 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. Nato sledeta The Fortune Teller (1828) in Young Polish Freedom Fighter (1834).
22 let: delo Lamoral, Count of Egmont, Taking Leave of His Wife iz leta 1826, pri čemer je Adèle Kindt rodil/a v 1804.
V našem katalogu je navedenih 4 del avtorja Adèle Kindt, datiranih od 1826 do 1840.
Večina njih se nahaja v Museum of Fine Arts Ghent (MSK) (Gent), Kraljevski muzej lepih umetnosti v Antwerpu (Antverp) in Muzej fine arts (Boston). Zgornja tabela navaja muzeje posamezno.
V obdobju 1820s: 2 od 4 del na tej strani izvira iz tega obdobja, med katerimi je Lamoral, Count of Egmont, Taking Leave of His Wife.
Najstarejšo delo na tej strani je iz Lamoral, Count of Egmont, Taking Leave of His Wife (1826), najnovejše pa iz Faith, Hope and Charity (1840).
Lamoral, Count of Egmont, Taking Leave of His Wife in Young Polish Freedom Fighter so med 2 dela na tej strani, ki jih hrani Museum of Fine Arts Ghent (MSK), Gent.
Da. Vsako sliko na tej strani lahko naročite kot muzejsko kakovostno ročno naslikano oljno reprodukcijo ali umetniški natisk v izbrani velikosti neposredno s strani posamezne slike.
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.