Updated November 2026 · ranked by our popularity score (searches, visits and orders for each work) · 4 works by Adèle Kindt in our catalogue
In short
Adèle Kindt's best-known piece is Lamoral, Count of Egmont, Taking Leave of His Wife (1826). You'll find it at the Museum of Fine Arts Ghent (MSK) in Ghent. Next on the list are The Fortune Teller (1828) and Young Polish Freedom Fighter (1834). We have 4 works by Adèle Kindt in our catalogue; this guide picks out the 4 best known, with the year, the museum and the story of each piece.
The 3 museums that hold the most of the paintings on this page.
| Museum | City | Works by Adèle Kindt | Paintings from this list |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
Ghent | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Royal Museum of Fine Arts Antwerp |
Antwerp | 1 | The Fortune Teller |
 Museum of Fine Arts |
Boston | 1 | Faith, Hope and Charity |
Pick a decade to see its standout piece.
Top of the list is Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Museum of Fine Arts Ghent (MSK), Ghent. Right behind it: The Fortune Teller (1828) and Young Polish Freedom Fighter (1834).
22 years old. Adèle Kindt was born in 1804, and Lamoral, Count of Egmont, Taking Leave of His Wife dates from 1826.
We have 4 works by Adèle Kindt in our catalogue, dated 1826 to 1840.
You'll find most of them in Museum of Fine Arts Ghent (MSK) (Ghent), Royal Museum of Fine Arts Antwerp (Antwerp) and Museum of Fine Arts (Boston). The museum list above has the full breakdown.
In 1820s, more than any other time: 2 of the 4 pieces on this page date from then, Lamoral, Count of Egmont, Taking Leave of His Wife among them.
The earliest piece here is Lamoral, Count of Egmont, Taking Leave of His Wife (1826); the most recent is Faith, Hope and Charity (1840).
You can see 2 of the pieces on this page at the Museum of Fine Arts Ghent (MSK), Ghent, including Lamoral, Count of Egmont, Taking Leave of His Wife and Young Polish Freedom Fighter.
Yes. Every painting on this page is available as a hand-painted oil reproduction or a print, in the size that suits you. Just open the painting's page to order.
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.
