Aktualizované november 2026 · zoradené podľa našej miery popularity (vyhľadávanie, návštevy a objednávky pre každou prácu) · 4 dielov umelca Adèle Kindt v našom katalógu
Rýchla odpoveď
Číslo jeden medzi obrazmi umelca Adèle Kindt je Lamoral, Count of Egmont, Taking Leave of His Wife (1826), ktorého originál sa nachádza v Museum of Fine Arts Ghent (MSK), Ghent. Na druhom a tretom mieste: The Fortune Teller (1828) a Young Polish Freedom Fighter (1834). Náš katalóg obsahuje 4 diel od umelca Adèle Kindt. Zoznam 4 uvedených tu predstavuje najznámejšie diela usporiadané podľa poradia, spolu s rokom a múzeou, v ktorej sa nachádza originál.
3 múzeá, v ktorých sa nachádza najviac obrazov z tejto stránky.
| Múzeá | Mesto | Diela umelca Adèle Kindt | Obrazy z tohto zoznamu |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
Ghent | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Kráľovské múzeum výtvarných umení Antverpy |
Antverpy | 1 | The Fortune Teller |
 Museum of Fine Arts |
Boston | 1 | Faith, Hope and Charity |
Vyberte dekádu, aby ste si pozreli jej najznámejší obraz.
Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Museum of Fine Arts Ghent (MSK), Ghent, zaužíva prvé miesto, za ktorým nasledujú The Fortune Teller (1828) a Young Polish Freedom Fighter (1834).
Adèle Kindt mal 22 rokov: Lamoral, Count of Egmont, Taking Leave of His Wife je datované 1826 a Adèle Kindt sa narodil v 1804.
V našom katalógu sa nachádza 4 diel od umelca Adèle Kindt, datovaných od 1826 do 1840.
Predovšetkým v Museum of Fine Arts Ghent (MSK) (Ghent), Kráľovské múzeum výtvarných umení Antverpy (Antverpy) a Museum of Fine Arts (Boston). Pre úplný zoznam pozrite tabuľku múzeí vyššie.
V období 1820s: 2 z 4 obrazov v tomto rebríčku pochádza z tohto obdobia, vrátane Lamoral, Count of Egmont, Taking Leave of His Wife.
Najstaršie na tejto stránke: Lamoral, Count of Egmont, Taking Leave of His Wife (1826). Najnovšie: Faith, Hope and Charity (1840).
V múzeu Museum of Fine Arts Ghent (MSK), Ghent sa nachádza 2 z tu uvedených obrazov, vrátane Lamoral, Count of Egmont, Taking Leave of His Wife a Young Polish Freedom Fighter.
Áno. Každý obraz na tejto stránke si môžete objednať ako ručne maľovanú olejobraskovú reprodukciu alebo ako tlač. Otvorte obraz, vyberte si veľkosť a dokončite objednávku.
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.
