Kasım 2026 tarihinde güncellendi · popülerlik puanımıza göre sıralanmıştır (her bir eser için aramalar, ziyaretler ve siparişler) · 4 eser Adèle Kindt kataloğumuzda
Hızlı yanıt
Adèle Kindt'in tabloları arasında bir numara, aslı Ghent, Museum of Fine Arts Ghent (MSK) bünyesinde bulunan Lamoral, Count of Egmont, Taking Leave of His Wife (1826)'tir. İkinci ve üçüncü sırada: The Fortune Teller (1828) ve Young Polish Freedom Fighter (1834). Kataloğumuzda Adèle Kindt tarafından yapılmış 4 eser bulunmaktadır. Burada sıralanan 4 eser, her bir orijinalin yılı ve müzesiyle birlikte, en ünlülerden başlayarak sıralanmıştır.
Bu sayfadaki tabloların çoğuna ev sahipliği yapan 3 müze.
| Müze | Şehir | Adèle Kindt Eserleri | Bu listedeki tablolar |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
Ghent | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Antwerp Kraliyet Güzel Sanatlar Müzesi |
Anvers | 1 | The Fortune Teller |
 Museum of Fine Arts |
Boston | 1 | Faith, Hope and Charity |
En iyi tablosunu görmek için bir on yıl seçin.
Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Museum of Fine Arts Ghent (MSK), Ghent, birinci sırada yer alırken, onu The Fortune Teller (1828) ve Young Polish Freedom Fighter (1834) takip ediyor.
Adèle Kindt 22 yaşındaydı: Lamoral, Count of Egmont, Taking Leave of His Wife 1826 tarihli bir eserdir ve Adèle Kindt 1804 yılında doğmuştur.
Adèle Kindt tarafından yapılan 4 eser, 1826 ile 1840 tarihleri arasında katalogumuzda yer almaktadır.
Ağırlıklı olarak Museum of Fine Arts Ghent (MSK) (Ghent), Antwerp Kraliyet Güzel Sanatlar Müzesi (Anvers) ve Museum of Fine Arts (Boston) bünyesinde bulunmaktadır. Tam liste için yukarıdaki müze tablosuna bakınız.
1820s döneminde: Buradaki 4 tablodan 2 tanesi, Lamoral, Count of Egmont, Taking Leave of His Wife dahil olmak üzere, o döneme aittir.
Bu sayfadaki en eski eser: Lamoral, Count of Egmont, Taking Leave of His Wife (1826). En yeni eser: Faith, Hope and Charity (1840).
Museum of Fine Arts Ghent (MSK), Ghent, Lamoral, Count of Egmont, Taking Leave of His Wife ve Young Polish Freedom Fighter dahil olmak üzere burada sıralanan tablolardan 2 tanesine ev sahipliği yapmaktadır.
Evet. Bu sayfadaki tüm tablolar, el yapımı yağlı boya reprodüksiyon veya baskı olarak sipariş edilebilir. Tabloyu açın, boyutu seçin ve siparişinizi verin.
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.
