Oppdatert November 2026 · rangert etter vår popularitetsscore (søk, besøk og bestillinger for hvert verk) · 4 verk av Adèle Kindt i vår katalog
Kort svar
Det fremste maleriet av Adèle Kindt er Lamoral, Count of Egmont, Taking Leave of His Wife (1826), hvis original befinner seg i Museum of Fine Arts Ghent (MSK), Gent. På andre- og tredjeplass: The Fortune Teller (1828) og Young Polish Freedom Fighter (1834). Vår katalog inneholder 4 verk av Adèle Kindt. De 4 som er oppført her er de mest kjente, i rangert rekkefølge, med årstall og museum for hvert originalverk.
De 3 museene som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Adèle Kindt | Malerier fra denne listen |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
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 |
Velg et tiår for å se dets mest populære maleri.
Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Museum of Fine Arts Ghent (MSK), Gent, rangerer som nummer én, etterfulgt av The Fortune Teller (1828) og Young Polish Freedom Fighter (1834).
Adèle Kindt var 22 år gammel: Lamoral, Count of Egmont, Taking Leave of His Wife er datert 1826, og Adèle Kindt ble født i 1804.
4 verk av Adèle Kindt finnes i vår katalog, datert fra 1826 til 1840.
Hovedsakelig i Museum of Fine Arts Ghent (MSK) (Gent), Koninklijk Museum voor Schone Kunsten Antwerpen (Antwerpen) og Museum of Fine Arts (Boston). Se museumstabellen ovenfor for den fullstendige listen.
I 1820s: 2 av de 4 maleriene som er rangert her, stammer fra denne tiden, inkludert Lamoral, Count of Egmont, Taking Leave of His Wife.
Eldste på denne siden: Lamoral, Count of Egmont, Taking Leave of His Wife (1826). Nyeste: Faith, Hope and Charity (1840).
Museum of Fine Arts Ghent (MSK), Gent har 2 av maleriene som er rangert her, inkludert Lamoral, Count of Egmont, Taking Leave of His Wife og Young Polish Freedom Fighter.
Ja. Alle malerier på denne siden kan bestilles som en håndmalt oljereproduksjon eller som et trykk. Åpne maleriet, velg størrelse og legg inn din bestilling.
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.
