Обновено Ноември 2026 · класирано според нашия индекс на популярност (търсения, посещения и поръчки за всяко произведение) · 4 творби на Adèle Kindt в нашия каталог
Бърз отговор
Най-значимата творба сред картините на Adèle Kindt е Lamoral, Count of Egmont, Taking Leave of His Wife (1826), чийто оригинал се намира в Museum of Fine Arts Ghent (MSK), Гент. На второ и трето място: The Fortune Teller (1828) и Young Polish Freedom Fighter (1834). Нашият каталог съдържа 4 произведения на Adèle Kindt. Изброените тук 4 са най-известните, подредени по ранг, с посочен година и музей за всяко оригинално произведение.
3 музея, които притежават най-голям брой от картините на тази страница.
| Музеи | Град | Творения на Adèle Kindt | Картини от този списък |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
Гент | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Кралски музей за изящни изкуства Антверпен |
Антверпен | 1 | The Fortune Teller |
 Музей на изкуствата във Бостън |
Бостън | 1 | Faith, Hope and Charity |
Изберете десетилетие, за да видите най-известната му картина.
Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Museum of Fine Arts Ghent (MSK), Гент, заема първо място, последван от The Fortune Teller (1828) и Young Polish Freedom Fighter (1834).
Adèle Kindt е бил на 22 години: Lamoral, Count of Egmont, Taking Leave of His Wife е датирана 1826, а Adèle Kindt е роден в 1804.
В нашия каталог са включени 4 произведения на Adèle Kindt, датирани от 1826 до 1840.
Предимно в Museum of Fine Arts Ghent (MSK) (Гент), Кралски музей за изящни изкуства Антверпен (Антверпен) и Музей на изкуствата във Бостън (Бостън). Вижте таблицата с музеи по-горе за пълния списък.
В 1820s: 2 от 4 картините, класирани тук, са от това време, включително Lamoral, Count of Egmont, Taking Leave of His Wife.
Най-стара на тази страница: Lamoral, Count of Egmont, Taking Leave of His Wife (1826). Най-нова: Faith, Hope and Charity (1840).
В Museum of Fine Arts Ghent (MSK), Гент се съхраняват 2 от картините, включени в този рейтинг, включително Lamoral, Count of Egmont, Taking Leave of His Wife и Young Polish Freedom Fighter.
Да. Всяка картина на тази страница може да бъде поръчана като ръчно рисувана маслена репродукция или като принт. Отворете картината, изберете размер и направете поръчката си.
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.
