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Cea mai importantă pictură a lui Adèle Kindt este Lamoral, Count of Egmont, Taking Leave of His Wife (1826), originalul căreia se află la Museum of Fine Arts Ghent (MSK), Ghent. Pe locul doi și trei: The Fortune Teller (1828) și Young Polish Freedom Fighter (1834). Catalogul nostru cuprinde 4 lucrări ale lui Adèle Kindt. Cele 4 de mai jos sunt cele mai celebre, ordonate pe rang, incluzând anul și muzeul de proveniență pentru fiecare original.
Cele 3 muzee care dețin cele mai multe dintre picturile de pe această pagină.
| Muzee | Oraș | Lucrări lui Adèle Kindt | Picturi din această listă |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
Ghent | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Muzeul Regal de Arte Frumoase din Anvers |
Antwerpen | 1 | The Fortune Teller |
 Muzeul de Artă Plastică din Boston |
Boston | 1 | Faith, Hope and Charity |
Selectați o deceniu pentru a vedea cea mai importantă pictură a acesteia.
Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Museum of Fine Arts Ghent (MSK), Ghent, ocupă prima poziție, urmat de The Fortune Teller (1828) și Young Polish Freedom Fighter (1834).
Adèle Kindt avea 22 ani: Lamoral, Count of Egmont, Taking Leave of His Wife este datată 1826, iar Adèle Kindt s-a născut în 1804.
În catalogul nostru sunt 4 lucrări ale lui Adèle Kindt, datate între 1826 și 1840.
În principal în Museum of Fine Arts Ghent (MSK) (Ghent), Muzeul Regal de Arte Frumoase din Anvers (Antwerpen) și Muzeul de Artă Plastică din Boston (Boston). Consultați tabelul muzeelor de mai sus pentru lista completă.
În 1820s: 2 dintre cele 4 picturi clasate aici datează din acea perioadă, inclusiv Lamoral, Count of Egmont, Taking Leave of His Wife.
Cea mai veche de pe această pagină: Lamoral, Count of Egmont, Taking Leave of His Wife (1826). Cea mai recentă: Faith, Hope and Charity (1840).
Museum of Fine Arts Ghent (MSK), Ghent deține 2 dintre picturile clasate aici, inclusiv Lamoral, Count of Egmont, Taking Leave of His Wife și Young Polish Freedom Fighter.
Da. Fiecare pictură de pe această pagină poate fi comandată ca reproducere pictată manual în ulei sau ca print. Deschide pictura, alege dimensiunea și plasează comanda.
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.
