Обновлено Ноябрь 2026 · рейтинг на основе нашего показателя популярности (количество поисковых запросов, посещений и заказов для каждой работы) · 4 работ Adèle Kindt в нашем каталоге
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Самая известная картина из коллекции Adèle Kindt — это Lamoral, Count of Egmont, Taking Leave of His Wife (1826), оригинал которой находится в Музей изящных искусств Гента (MSK), Гент. На втором и третьем местах: The Fortune Teller (1828) и Young Polish Freedom Fighter (1834). В нашем каталоге представлено 4 работ Adèle Kindt. В списке ниже приведены 4 самых известных произведений в порядке их значимости, с указанием года создания и музея, где находится оригинал каждого из них.
3 музеев, в которых находится большинство картин со страницы.
| Музей | Город | Работы Adèle Kindt | Картины из этого списка |
|---|---|---|---|
 Музей изящных искусств Гента (MSK) |
Гент | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Королевский музей изящных искусств Антверпена |
Антверпен | 1 | The Fortune Teller |
 Музей изящных искусств |
Бостон | 1 | Faith, Hope and Charity |
Выберите десятилетие, чтобы увидеть его главную картину.
Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Музей изящных искусств Гента (MSK), Гент, занимает первое место, за ним следуют The Fortune Teller (1828) и Young Polish Freedom Fighter (1834).
Adèle Kindt было 22 лет: работа Lamoral, Count of Egmont, Taking Leave of His Wife датирована 1826, а Adèle Kindt родился в 1804.
В нашем каталоге представлено 4 работ Adèle Kindt, датированных периодом с 1826 по 1840.
В основном в Музей изящных искусств Гента (MSK) (Гент), Королевский музей изящных искусств Антверпена (Антверпен) и Музей изящных искусств (Бостон). Полный список см. в таблице музеев выше.
В 1820s: 2 из 4 картин в этом рейтинге относятся к тому времени, включая Lamoral, Count of Egmont, Taking Leave of His Wife.
Самая ранняя работа на этой странице: Lamoral, Count of Egmont, Taking Leave of His Wife (1826). Самая поздняя: Faith, Hope and Charity (1840).
В Музей изящных искусств Гента (MSK), Гент хранятся 2 картин из этого списка, включая Lamoral, Count of Egmont, Taking Leave of His Wife и Young Polish Freedom Fighter.
Да. Каждую картину на этой странице можно заказать как ручную масляную репродукцию, так и печать. Выберите картину, укажите размер и оформите заказ.
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.
