Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 4 works by Adèle Kindt in our catalogue
Quick answer
Number one among Adèle Kindt's paintings is Lamoral, Count of Egmont, Taking Leave of His Wife (1826), whose original is at the Museum of Fine Arts Ghent (MSK), Ghent. In second and third place: The Fortune Teller (1828) and Young Polish Freedom Fighter (1834). Our catalogue holds 4 works by Adèle Kindt. The 4 listed here are the most famous, in rank order, with the year and museum of each original.
The 3 museums that hold the most of the paintings on this page.
| Museum | City | Works by Adèle Kindt | Paintings from this list |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
Ghent | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Royal Museum of Fine Arts Antwerp |
Antwerp | 1 | The Fortune Teller |
 Museum of Fine Arts |
Boston | 1 | Faith, Hope and Charity |
Select a decade to see its top painting.
Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Museum of Fine Arts Ghent (MSK), Ghent, ranks first, followed by The Fortune Teller (1828) and Young Polish Freedom Fighter (1834).
Adèle Kindt was 22: Lamoral, Count of Egmont, Taking Leave of His Wife is dated 1826, and Adèle Kindt was born in 1804.
4 works by Adèle Kindt are in our catalogue, dated 1826 to 1840.
Mainly in Museum of Fine Arts Ghent (MSK) (Ghent), Royal Museum of Fine Arts Antwerp (Antwerp) and Museum of Fine Arts (Boston). See the museum table above for the full list.
In 1820s: 2 of the 4 paintings ranked here date from that time, including Lamoral, Count of Egmont, Taking Leave of His Wife.
Earliest on this page: Lamoral, Count of Egmont, Taking Leave of His Wife (1826). Latest: Faith, Hope and Charity (1840).
The Museum of Fine Arts Ghent (MSK), Ghent holds 2 of the paintings ranked here, including Lamoral, Count of Egmont, Taking Leave of His Wife and Young Polish Freedom Fighter.
Yes. Every painting on this page can be ordered as a hand-painted oil reproduction or a print. Open the painting, choose the size and place your order.
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.
