Bijgewerkt in november 2026 · gerangschikt op basis van onze populariteitsscore (zoekopdrachten, bezoeken en bestellingen per kunstwerk) · 4 werken van Adèle Kindt in onze catalogus
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Het belangrijkste schilderij van Adèle Kindt is Lamoral, Count of Egmont, Taking Leave of His Wife (1826), waarvan het origineel in het Museum voor Schone Kunsten Gent in Gent staat. Op de tweede en derde plaats: The Fortune Teller (1828) en Young Polish Freedom Fighter (1834). Onze catalogus bevat 4 werken van Adèle Kindt. De 4 hier vermelde werken zijn de bekendste, in volgorde van rangschikking, inclusief het jaar en het museum van elk origineel.
De 3 musea met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Adèle Kindt | Schilderijen uit deze lijst |
|---|---|---|---|
 Museum voor Schone Kunsten Gent |
Gent | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Koninklijk Museum voor Schone Kunsten Antwerpen |
Antwerpen | 1 | The Fortune Teller |
 Museum of Fine Arts |
Boston | 1 | Faith, Hope and Charity |
Selecteer een decennium om het topstuk te bekijken.
Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Museum voor Schone Kunsten Gent, Gent, staat op de eerste plaats, gevolgd door The Fortune Teller (1828) en Young Polish Freedom Fighter (1834).
Adèle Kindt was 22 jaar oud: Lamoral, Count of Egmont, Taking Leave of His Wife dateert uit 1826, en Adèle Kindt werd geboren in 1804.
4 werken van Adèle Kindt zijn opgenomen in onze catalogus, gedateerd van 1826 tot 1840.
Voornamelijk in Museum voor Schone Kunsten Gent (Gent), Koninklijk Museum voor Schone Kunsten Antwerpen (Antwerpen) en Museum of Fine Arts (Boston). Zie de museumtabel hierboven voor de volledige lijst.
In 1820s: 2 van de 4 hier gerangschikte schilderijen stammen uit die tijd, waaronder Lamoral, Count of Egmont, Taking Leave of His Wife.
Eerste op deze pagina: Lamoral, Count of Egmont, Taking Leave of His Wife (1826). Laatste: Faith, Hope and Charity (1840).
Het Museum voor Schone Kunsten Gent, Gent herbergt 2 van de schilderijen in deze ranglijst, waaronder Lamoral, Count of Egmont, Taking Leave of His Wife en Young Polish Freedom Fighter.
Ja. Elk schilderij op deze pagina kan worden besteld als een handgeschilderde olieverfreproductie of als een print. Open het schilderij, kies de gewenste afmeting en plaats uw bestelling.
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.
