Aktualizacja: Listopad 2026 · ranking według naszego wskaźnika popularności (liczba wyszukiwań, wizyt i zamówień dla każdego dzieła) · 4 dzieł Adèle Kindt w naszym katalogu
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Najważniejszym dziełem wśród obrazów Adèle Kindt jest Lamoral, Count of Egmont, Taking Leave of His Wife (1826), którego oryginał znajduje się w Museum of Fine Arts Ghent (MSK), Gandawa. Na drugim i trzecim miejscu: The Fortune Teller (1828) oraz Young Polish Freedom Fighter (1834). Nasz katalog zawiera 4 dzieł autorstwa Adèle Kindt. Wymienione poniżej 4 pozycji to najsłynniejsze z nich, uszeregowane według rangi, wraz z rokiem powstania i muzeum, w którym znajduje się oryginał.
3 muzeów, w których znajduje się najwięcej obrazów z tej strony.
| Muzea | Miasto | Dzieła artysty Adèle Kindt | Obrazy z tej listy |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
Gandawa | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Królewskie Muzeum Sztuk Pięknych Antwerpia |
Antwerpia | 1 | The Fortune Teller |
 Museum of Fine Arts |
Boston | 1 | Faith, Hope and Charity |
Wybierz dekadę, aby zobaczyć jej najważniejszy obraz.
Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Museum of Fine Arts Ghent (MSK), Gandawa, zajmuje pierwsze miejsce, a następnie The Fortune Teller (1828) i Young Polish Freedom Fighter (1834).
Adèle Kindt miał 22 lat: Lamoral, Count of Egmont, Taking Leave of His Wife pochodzi z 1826, a Adèle Kindt urodził się w 1804.
W naszym katalogu znajduje się 4 dzieł artysty Adèle Kindt, datowanych od 1826 do 1840.
Głównie w Museum of Fine Arts Ghent (MSK) (Gandawa), Królewskie Muzeum Sztuk Pięknych Antwerpia (Antwerpia) i Museum of Fine Arts (Boston). Pełna lista znajduje się w powyższej tabeli muzeów.
W okresie 1820s: 2 z 4 obrazów znajdujących się na tej liście pochodzi z tego czasu, w tym Lamoral, Count of Egmont, Taking Leave of His Wife.
Najwcześniejsze na tej stronie: Lamoral, Count of Egmont, Taking Leave of His Wife (1826). Najnowsze: Faith, Hope and Charity (1840).
Muzeum Museum of Fine Arts Ghent (MSK), Gandawa posiada 2 z obrazów wymienionych na tej liście, w tym Lamoral, Count of Egmont, Taking Leave of His Wife i Young Polish Freedom Fighter.
Tak. Każdy obraz na tej stronie można zamówić jako ręcznie malowaną reprodukcję olejną lub wydruk. Otwórz obraz, wybierz rozmiar i złóż zamówienie.
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.
