Mis à jour en novembre 2026 · classé selon notre score de popularité (recherches, visites et commandes pour chaque œuvre) · 4 œuvres de Adèle Kindt dans notre catalogue
Réponse rapide
L'œuvre numéro un parmi les peintures de Adèle Kindt est Lamoral, Count of Egmont, Taking Leave of His Wife (1826), dont l'original se trouve au Musée des Beaux-Arts de Gand (MSK), à Gand. En deuxième et troisième positions : The Fortune Teller (1828) et Young Polish Freedom Fighter (1834). Notre catalogue comprend 4 œuvres de Adèle Kindt. Les 4 œuvres listées ici sont les plus célèbres, classées par ordre d'importance, avec l'année et le musée de chaque original.
Les 3 musées qui détiennent la plupart des peintures de cette page.
| Musées | Ville | Œuvres de Adèle Kindt | Peintures de cette liste |
|---|---|---|---|
 Musée des Beaux-Arts de Gand (MSK) |
Gand | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Musée Royal des Beaux-Arts d'Anvers |
Anvers | 1 | The Fortune Teller |
 Musée des Beaux-Arts de Boston |
Boston | 1 | Faith, Hope and Charity |
Sélectionnez une décennie pour découvrir son chef-d'œuvre.
Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Musée des Beaux-Arts de Gand (MSK), Gand, arrive en première position, suivi de The Fortune Teller (1828) et Young Polish Freedom Fighter (1834).
Adèle Kindt avait 22 ans : Lamoral, Count of Egmont, Taking Leave of His Wife date de 1826, et Adèle Kindt est né(e) en 1804.
4 œuvres de Adèle Kindt figurent dans notre catalogue, datées de 1826 à 1840.
Principalement dans Musée des Beaux-Arts de Gand (MSK) (Gand), Musée Royal des Beaux-Arts d'Anvers (Anvers) et Musée des Beaux-Arts de Boston (Boston). Consultez le tableau des musées ci-dessus pour la liste complète.
En 1820s : 2 des 4 peintures classées ici datent de cette époque, dont Lamoral, Count of Egmont, Taking Leave of His Wife.
Plus ancien sur cette page : Lamoral, Count of Egmont, Taking Leave of His Wife (1826). Plus récent : Faith, Hope and Charity (1840).
Le Musée des Beaux-Arts de Gand (MSK), Gand détient 2 des peintures classées ici, dont Lamoral, Count of Egmont, Taking Leave of His Wife et Young Polish Freedom Fighter.
Oui. Chaque tableau de cette page peut être commandé sous forme de reproduction à l'huile peinte à la main ou d'impression. Ouvrez le tableau, choisissez la taille et passez votre commande.
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.
