Ažurirano: новембар 2026 · rangirano prema našem koeficijentu popularnosti (pretrage, posete i porudžbine za svako delo) · 4 dela Adèle Kindt u našem katalogu
Brzi odgovor
Najpoznatije delo iz kolekcije umetnika Adèle Kindt je Lamoral, Count of Egmont, Taking Leave of His Wife (1826), čiji se original nalazi u muzeju Museum of Fine Arts Ghent (MSK), Gent. Na drugom i trećem mestu: The Fortune Teller (1828) i Young Polish Freedom Fighter (1834). Naš katalog sadrži 4 dela umetnika Adèle Kindt. Ovde je navedeno 4 najpoznatijih dela, poređanih prema rangu, sa godinom nastanka i muzejem u kojem se čuva svaki original.
3 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Adèle Kindt | Slike iz ovog spiska |
|---|---|---|---|
 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 u Antverpenu |
Antverpen | 1 | The Fortune Teller |
 Muzej finih umetnosti u Bostonu |
Boston | 1 | Faith, Hope and Charity |
Izaberite deceniju da biste videli njene najpoznatije slike.
Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Museum of Fine Arts Ghent (MSK), Gent, zauzima prvo mesto, a prate ga The Fortune Teller (1828) i Young Polish Freedom Fighter (1834).
Adèle Kindt je imao 22 godina: Lamoral, Count of Egmont, Taking Leave of His Wife je datiran 1826, a Adèle Kindt je rođen 1804.
U našem katalogu se nalazi 4 dela umetnika Adèle Kindt, datiranih od 1826 do 1840.
Pretežno u Museum of Fine Arts Ghent (MSK) (Gent), Kraljevski muzej lepih umetnosti u Antverpenu (Antverpen) i Muzej finih umetnosti u Bostonu (Boston). Za kompletnu listu pogledajte tabelu muzeja iznad.
U periodima 1820s: 2 od 4 slika rangiranih ovde datiraju iz tog vremena, uključujući Lamoral, Count of Egmont, Taking Leave of His Wife.
Najstarije na ovoj stranici: Lamoral, Count of Egmont, Taking Leave of His Wife (1826). Najnovije: Faith, Hope and Charity (1840).
Museum of Fine Arts Ghent (MSK), Gent poseduje 2 slika sa ovog rangiranja, uključujući Lamoral, Count of Egmont, Taking Leave of His Wife i Young Polish Freedom Fighter.
Da. Svaka slika na ovoj stranici može se naručiti kao ručno slikana uljana reprodukcija ili kao štampa. Otvorite sliku, odaberite veličinu i izvršite porudžbinu.
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.
