Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 4 teost Adèle Kindt meie kataloogis
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Adèle Kindt teosena on number üks Lamoral, Count of Egmont, Taking Leave of His Wife (1826), mille originaal asub Museum of Fine Arts Ghent (MSK) muuseumis, Gent. Teises ja kolmandes kohas: The Fortune Teller (1828) ja Young Polish Freedom Fighter (1834). Meie kataloogist löytyb 4 teost kunstnikult Adèle Kindt. Siin loeteldud 4 teost on kõige kuulsamad, järjestatud tähtsuse järgi, koos iga originaali aasta ja muuseumiga.
Kümne 3 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | Adèle Kindt teosid | Selle nimekirja maalid |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
Gent | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Royal Museum of Fine Arts Antwerp |
Antverp | 1 | The Fortune Teller |
 Museum of Fine Arts |
Boston | 1 | Faith, Hope and Charity |
Vali vuosinde, et näha selle top-maalide listi.
Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Museum of Fine Arts Ghent (MSK), Gent, on esikkohal, järglennud on The Fortune Teller (1828) ja Young Polish Freedom Fighter (1834).
Adèle Kindt oli 22 aastat vanus: teos Lamoral, Count of Egmont, Taking Leave of His Wife on pärinev aastast 1826 ning Adèle Kindt sündis aastal 1804.
Kataloogis on 4 teost kunstnikult Adèle Kindt, kuupäevadelt 1826 kuni 1840.
Peamiselt Museum of Fine Arts Ghent (MSK) (Gent), Royal Museum of Fine Arts Antwerp (Antverp) ja Museum of Fine Arts (Boston). Täielik nimekiri on esitatud ülalpool olevas muuseumide tabelis.
Ajast 1820s: 2 siin reastatudest 4 maalist pärineb sellest ajast, sealhulgas Lamoral, Count of Egmont, Taking Leave of His Wife.
Sellel lehel kõige vanem: Lamoral, Count of Egmont, Taking Leave of His Wife (1826). Uusim: Faith, Hope and Charity (1840).
Museum of Fine Arts Ghent (MSK), Gent säilitab 2 siin loetletud maalistest, sealhul ka Lamoral, Count of Egmont, Taking Leave of His Wife ja Young Polish Freedom Fighter.
Jah. Kõik sellel lehel olevad maalid on tellitavad nii käsitööna valminud õlimaalide reproduktsioonina kui ka trükkina. Avage maali, valige suurus ja esitage tellimus.
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.
