Actualizat Noiembrie 2026 · clasat în funcție de scorul nostru de popularitate (căutări, vizite și comenzi pentru fiecare operă) · 4 lucrări ale lui Adèle Kindt în catalogul nostru
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Cea mai cunoscută operă a lui Adèle Kindt este Lamoral, Count of Egmont, Taking Leave of His Wife (1826). O poți găsi la Museum of Fine Arts Ghent (MSK) din Ghent. Următorii din listă sunt The Fortune Teller (1828) și Young Polish Freedom Fighter (1834). În catalogul nostru avem 4 lucrări ale lui Adèle Kindt; acest ghid selectează cele 4 cele mai cunoscute, incluzând anul, muzeul și povestea fiecărei piese.
Cele 3 muzee care dețin cele mai multe dintre picturile de pe această pagină.
| Muzee | Oraș | Lucrări lui Adèle Kindt | Picturi din această listă |
|---|---|---|---|
 Museum of Fine Arts Ghent (MSK) |
Ghent | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Muzeul Regal de Arte Frumoase din Anvers |
Antwerpen | 1 | The Fortune Teller |
 Muzeul de Artă Plastică din Boston |
Boston | 1 | Faith, Hope and Charity |
Alege o deceniu pentru a vedea piesa sa de rezistență.
În topul listei se află Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Museum of Fine Arts Ghent (MSK), Ghent. Imediat după aceasta: The Fortune Teller (1828) și Young Polish Freedom Fighter (1834).
22 ani. Adèle Kindt s-a născut în 1804, iar Lamoral, Count of Egmont, Taking Leave of His Wife datează din 1826.
În catalogul nostru avem 4 lucrări ale lui Adèle Kindt, datate între 1826 și 1840.
Le vei găsi pe majoritatea în Museum of Fine Arts Ghent (MSK) (Ghent), Muzeul Regal de Arte Frumoase din Anvers (Antwerpen) și Muzeul de Artă Plastică din Boston (Boston). Lista muzeelor de mai sus oferă detalierea completă.
În 1820s, mai mult decât în orice altă perioadă: 2 dintre cele 4 piese de pe această pagină datează de atunci, Lamoral, Count of Egmont, Taking Leave of His Wife dintre acestea.
Cea mai veche piesă de aici este Lamoral, Count of Egmont, Taking Leave of His Wife (1826); cea mai recentă este Faith, Hope and Charity (1840).
Pe această pagină poți vedea 2 dintre piesele din cadrul Museum of Fine Arts Ghent (MSK), Ghent, inclusiv Lamoral, Count of Egmont, Taking Leave of His Wife și Young Polish Freedom Fighter.
Da. Fiecare pictură de pe această pagină este disponibilă ca reproducere pictată manual în ulei sau ca print, în dimensiunea care vă conveni. Accesați pagina picturii pentru a comanda.
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.
