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Lamoral, Count of Egmont, Taking Leave of His Wife
El boyaması yağlı boya reprodüksiyon fiyatları $281 36 × 28 cm
Orijinal boyutunda $1295 214 × 163 cm Orijinal boyutunda sipariş verin →
Adèle Kindt ismini duyuran tablo Lamoral, Count of Egmont, Taking Leave of His Wife (1826) eseridir; bu eser Ghent, Museum of Fine Arts Ghent (MSK) bünyesinde sergilenmektedir. The Fortune Teller (1828) ve Young Polish Freedom Fighter (1834) ise koleksiyonerlerin ve müze ziyaretçilerinin kalbinde onları takip ediyor. Katalogumuzdaki Adèle Kindt imzalı 4 eser arasından en çok beğenilen bu 4 eser; yapıldığı tarih, sergilendiği müze ve onu eşsiz kılan özellikleriyle birlikte sunulmuştur.
Her bir eser için yapılan aramalar, ziyaretler ve siparişlerin birleşimiyle oluşturulan popülerlik puanımıza göre sıralanmıştır. Kasım 2026 tarihinde güncellenmiştir. Bu sayfadaki her bir şaheser, seçtiğiniz boyutta müze kalitesinde, el yapımı yağlı boya reprodüksiyon veya sanat baskısı olarak sipariş edilebilir.
Bu sayfadaki tabloların çoğuna ev sahipliği yapan 3 müze.
| Müze | Şehir | Adèle Kindt Eserleri | Bu listedeki tablolar |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
Ghent | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Antwerp Kraliyet Güzel Sanatlar Müzesi |
Anvers | 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. Ardından The Fortune Teller (1828) ve Young Polish Freedom Fighter (1834) gelir.
22 yaşında: Lamoral, Count of Egmont, Taking Leave of His Wife 1826 yılına aittir ve Adèle Kindt 1804 yılında doğmuştur.
Kataloğumuz, Adèle Kindt tarafından 1826 ile 1840 tarihleri arasında üretilen 4 eseri listelemektedir.
Çoğu Museum of Fine Arts Ghent (MSK) (Ghent), Antwerp Kraliyet Güzel Sanatlar Müzesi (Anvers) ve Museum of Fine Arts (Boston) bünyesinde bulunmaktadır. Yukarıdaki tablo müzeleri tek tek listelemektedir.
1820s döneminde: Bu sayfadaki 4 eserin 2 tanesi o döneme aittir, bunlar arasında Lamoral, Count of Egmont, Taking Leave of His Wife bulunmaktadır.
Bu sayfadaki en eski eser Lamoral, Count of Egmont, Taking Leave of His Wife (1826), en yeni eser ise Faith, Hope and Charity (1840)'dir.
Lamoral, Count of Egmont, Taking Leave of His Wife ve Young Polish Freedom Fighter, Museum of Fine Arts Ghent (MSK), Ghent bünyesinde bulunan bu sayfadaki 2 eser arasında yer almaktadır.
Evet. Bu sayfadaki her tablo, tablonun kendi sayfasından seçtiğiniz boyutta, müze kalitesinde, el yapımı bir yağlı boya reprodüksiyon veya bir sanat baskısı olarak sipariş edilebilir.
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.