Päivitetty marraskuu 2026 · järjestetty suosituimmuuspisteiden mukaan (jokaisen teoksen haut, vierailut ja tilaukset) · 4 teosta taiteilijalta Adèle Kindt luettelossamme
Pika-vastaus
Adèle Kindt'n maalauksista suosituin on Lamoral, Count of Egmont, Taking Leave of His Wife (1826), jonka alkuperäinen teos sijaitsee museossa Museum of Fine Arts Ghent (MSK), Gent. Toisella ja kolmannella sijalla: The Fortune Teller (1828) ja Young Polish Freedom Fighter (1834). Katalogissamme on 4 teosta taiteilijalta Adèle Kindt. Tässä listatut 4 teosta ovat tunnetuimpia järjestettynä sijoituksen mukaan, sisältäen kunkin alkuperäisteoksen vuosiluvun ja museon.
Tämän sivun teoksista eniten sisältävät 3 museota.
| Museo | Kaupunki | Adèle Kindt teokset | Tämän listan maalaukset |
|---|---|---|---|
 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 |
Antwerpen | 1 | The Fortune Teller |
 Museum of Fine Arts |
Boston | 1 | Faith, Hope and Charity |
Valitse vuosikymmen nähdäksesi sen suosituimman maalauksen.
Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Museum of Fine Arts Ghent (MSK), Gent, on ensimmäinen, ja sitä seuraavat The Fortune Teller (1828) ja Young Polish Freedom Fighter (1834).
Adèle Kindt oli 22 vuotta: Lamoral, Count of Egmont, Taking Leave of His Wife on päivätty vuodelle 1826, ja Adèle Kindt syntyi 1804.
Luettelossamme on 4 teosta taiteilijalta Adèle Kindt, aikaväliltä 1826–1840.
Pääasiassa Museum of Fine Arts Ghent (MSK) (Gent), Royal Museum of Fine Arts Antwerp (Antwerpen) ja Museum of Fine Arts (Boston). Katso yllä oleva museotaulukko nähdäksesi täydellisen listan.
Aikakaudella 1820s: 2 tästä 4 maalauksesta on peräisin kyseiseltä ajalta, mukaan lukien Lamoral, Count of Egmont, Taking Leave of His Wife.
Sivun vanhin teos: Lamoral, Count of Egmont, Taking Leave of His Wife (1826). Uusin: Faith, Hope and Charity (1840).
Museum of Fine Arts Ghent (MSK), Gent -museossa on 2 tämän listan maalauksista, mukaan lukien Lamoral, Count of Egmont, Taking Leave of His Wife ja Young Polish Freedom Fighter.
Kyllä. Voit tilata jokaisen tämän sivun maalauksen käsinmaalatun öljyreproosion tai painatuksena. Avaa maalaus, valitse koko ja tee tilauksesi.
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.
