Atualizado em Novembro 2026 · classificado pela nossa pontuação de popularidade (pesquisas, visitas e pedidos de cada obra) · 4 obras de Adèle Kindt em nosso catálogo
Resposta rápida
A pintura número um de Adèle Kindt é Lamoral, Count of Egmont, Taking Leave of His Wife (1826), cujo original está no Museum of Fine Arts Ghent (MSK), em Gante. Em segundo e terceiro lugar: The Fortune Teller (1828) e Young Polish Freedom Fighter (1834). Nosso catálogo contém 4 obras de Adèle Kindt. Os 4 listados aqui são as mais famosas, em ordem de classificação, com o ano e o museu de cada original.
Os 3 museus que detêm a maioria das pinturas desta página.
| Museus | Cidade | Obras de Adèle Kindt | Pinturas desta lista |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
Gante | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Royal Museum of Fine Arts Antwerp |
Antuérpia | 1 | The Fortune Teller |
 Museu de Belas Artes de Boston |
Boston | 1 | Faith, Hope and Charity |
Selecione uma década para ver a sua pintura principal.
Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Museum of Fine Arts Ghent (MSK), Gante, ocupa o primeiro lugar, seguido por The Fortune Teller (1828) e Young Polish Freedom Fighter (1834).
Adèle Kindt tinha 22 anos: Lamoral, Count of Egmont, Taking Leave of His Wife é datada de 1826, e Adèle Kindt nasceu em 1804.
4 obras de Adèle Kindt estão em nosso catálogo, datadas de 1826 a 1840.
Principalmente em Museum of Fine Arts Ghent (MSK) (Gante), Royal Museum of Fine Arts Antwerp (Antuérpia) e Museu de Belas Artes de Boston (Boston). Consulte a tabela de museus acima para a lista completa.
Em 1820s: 2 das 4 pinturas classificadas aqui datam dessa época, incluindo Lamoral, Count of Egmont, Taking Leave of His Wife.
Mais antiga nesta página: Lamoral, Count of Egmont, Taking Leave of His Wife (1826). Mais recente: Faith, Hope and Charity (1840).
O Museum of Fine Arts Ghent (MSK), Gante detém 2 das pinturas classificadas aqui, incluindo Lamoral, Count of Egmont, Taking Leave of His Wife e Young Polish Freedom Fighter.
Sim. Todas as pinturas desta página podem ser encomendadas como uma reprodução em óleo pintada à mão ou como uma impressão. Abra a pintura, escolha o tamanho e faça o seu pedido.
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.
