Opdateret oktober 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 4 værker af Adèle Kindt i vores katalog
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Det vigtigste værk blandt Adèle Kindt's malerier er Lamoral, Count of Egmont, Taking Leave of His Wife (1826), hvis original findes på Museum of Fine Arts Ghent (MSK), Gent. På anden og tredjepladsen: The Fortune Teller (1828) og Young Polish Freedom Fighter (1834). Vores katalog indeholder 4 værker af Adèle Kindt. De 4 værker, der er listet her, er de mest berømte i rangorden, inklusiv årstal og museum for hvert originalværk.
De 3 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Adèle Kindt | Malerier fra denne liste |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
Gent | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Det Kongelige Museum for Fin Kunst Antwerpen |
Antwerpen | 1 | The Fortune Teller |
 Museum of Fine Arts |
Boston | 1 | Faith, Hope and Charity |
Vælg et årti for at se dets mest populære maleri.
Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Museum of Fine Arts Ghent (MSK), Gent, rangerer som nummer ét, efterfulgt af The Fortune Teller (1828) og Young Polish Freedom Fighter (1834).
Adèle Kindt var 22 år gammel: Lamoral, Count of Egmont, Taking Leave of His Wife er dateret 1826, og Adèle Kindt blev født i 1804.
4 værker af Adèle Kindt er i vores katalog, dateret fra 1826 til 1840.
Primært i Museum of Fine Arts Ghent (MSK) (Gent), Det Kongelige Museum for Fin Kunst Antwerpen (Antwerpen) og Museum of Fine Arts (Boston). Se museomtabelen ovenfor for den fulde liste.
I 1820s: 2 af de 4 malerier, der er rangeret her, stammer fra den tid, herunder Lamoral, Count of Egmont, Taking Leave of His Wife.
Ældste på denne side: Lamoral, Count of Egmont, Taking Leave of His Wife (1826). Nyeste: Faith, Hope and Charity (1840).
Museum of Fine Arts Ghent (MSK), Gent har 2 af de malerier, der er rangeret her, herunder Lamoral, Count of Egmont, Taking Leave of His Wife og Young Polish Freedom Fighter.
Ja. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion eller som et print. Åbn maleriet, vælg størrelsen og afgiv din bestilling.
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.
