Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 4 del v našem katalogu avtorja Adèle Kindt
Hitri odgovor
Prvo med slikami umetnika Adèle Kindt je Lamoral, Count of Egmont, Taking Leave of His Wife (1826), katere original se nahaja v muzeju Museum of Fine Arts Ghent (MSK), Gent. Na drugem in tretjem mestu: The Fortune Teller (1828) in Young Polish Freedom Fighter (1834). Naš katalog vsebuje 4 del avtorja Adèle Kindt. Na seznamu je 4 najslavnejših del, razvrščenih po uvrstvi, s podatki o letu nastanka in muzeju, kjer se nahaja vsako originalno delo.
3 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Adèle Kindt | Slike iz tega seznama |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
Gent | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Kraljevski muzej lepih umetnosti v Antwerpu |
Antverp | 1 | The Fortune Teller |
 Muzej fine arts |
Boston | 1 | Faith, Hope and Charity |
Izberite desetletje, da vidite njegovo najboljši naslik.
Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Museum of Fine Arts Ghent (MSK), Gent, zaseda prvo mesto, sledijo ji The Fortune Teller (1828) in Young Polish Freedom Fighter (1834).
Adèle Kindt je bil/a 22 let: Lamoral, Count of Egmont, Taking Leave of His Wife je datiran/a z letom 1826, Adèle Kindt pa se je rodil/a v 1804.
V našem katalogu je 4 del umetnika Adèle Kindt, datiranih od 1826 do 1840.
Predvsem v Museum of Fine Arts Ghent (MSK) (Gent), Kraljevski muzej lepih umetnosti v Antwerpu (Antverp) in Muzej fine arts (Boston). Za celoten seznam si oglej tabelo muzejev zgoraj.
V obdobju 1820s: 2 od 4 slik na tem seznamu izvira iz tega obdobja, vključno s Lamoral, Count of Egmont, Taking Leave of His Wife.
Najstarejšo delo na tej strani: Lamoral, Count of Egmont, Taking Leave of His Wife (1826). Najboljše: Faith, Hope and Charity (1840).
V muzeju Museum of Fine Arts Ghent (MSK), Gent se nahaja 2 slik iz tega seznama, vključno s slikami Lamoral, Count of Egmont, Taking Leave of His Wife in Young Polish Freedom Fighter.
Da. Vsako sliko na tej strani je mogoče naročiti kot ročno naslikano oljno reprodukcijo ali tiskano kopijo. Odprite sliko, izberite velikost in oddajte naročilo.
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.
