Uppdaterad november 2026 · rangordnad efter vår popularitetspoäng (sökningar, besök och beställningar för varje verk) · 4 verk av Adèle Kindt i vår katalog
Snabbt svar
Det främsta verket bland Adèle Kindts målningar är Lamoral, Count of Egmont, Taking Leave of His Wife (1826), vars original finns på Museum of Fine Arts Ghent (MSK) i Gent. På andra och tredje plats: The Fortune Teller (1828) och Young Polish Freedom Fighter (1834). Vår katalog innehåller 4 verk av Adèle Kindt. De 4 som listas här är de mest kända, i rangordning, med årtal och museum för varje original.
De 3 museer som innehar flest av målningarna på denna sida.
| Museum | Stad | Verk av Adèle Kindt | Målningar från denna lista |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
Gent | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Koninklijk Museum voor Schone Kunsten Antwerpen |
Antwerpen | 1 | The Fortune Teller |
 Museum of Fine Arts |
Boston | 1 | Faith, Hope and Charity |
Välj ett decennium för att se dess främsta målning.
Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Museum of Fine Arts Ghent (MSK), Gent, toppar listan, följd av The Fortune Teller (1828) och Young Polish Freedom Fighter (1834).
Adèle Kindt var 22 år gammal: Lamoral, Count of Egmont, Taking Leave of His Wife är daterad 1826, och Adèle Kindt föddes 1804.
4 verk av Adèle Kindt finns i vår katalog, daterade 1826 till 1840.
Främst i Museum of Fine Arts Ghent (MSK) (Gent), Koninklijk Museum voor Schone Kunsten Antwerpen (Antwerpen) och Museum of Fine Arts (Boston). Se museatabellen ovan för den fullständiga listan.
Under 1820s: 2 av de 4 målningar som rankas här härstammar från den tiden, inklusive Lamoral, Count of Egmont, Taking Leave of His Wife.
Tidigaste på denna sida: Lamoral, Count of Egmont, Taking Leave of His Wife (1826). Senaste: Faith, Hope and Charity (1840).
Museum of Fine Arts Ghent (MSK), Gent har 2 av de målningar som finns med i denna ranking, inklusive Lamoral, Count of Egmont, Taking Leave of His Wife och Young Polish Freedom Fighter.
Ja. Varje målning på denna sida kan beställas som en handmålad oljereproduktion eller som ett tryck. Öppna målningen, välj storlek och lägg din beställning.
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.
