Обновлено Ноябрь 2026 · рейтинг на основе нашего показателя популярности (количество поисковых запросов, посещений и заказов для каждой работы) · 4 работ Adèle Kindt в нашем каталоге
Вкратце
Самое известное произведение Adèle Kindt — это Lamoral, Count of Egmont, Taking Leave of His Wife (1826). Вы можете увидеть его в Музей изящных искусств Гента (MSK) в городе Гент. Следующие в списке — The Fortune Teller (1828) и Young Polish Freedom Fighter (1834). В нашем каталоге представлено 4 работ Adèle Kindt; в этом путеводителе мы выбрали 4 самых известных произведений с указанием года создания, музея и истории каждого шедевра.
3 музеев, в которых находится большинство картин со страницы.
| Музей | Город | Работы Adèle Kindt | Картины из этого списка |
|---|---|---|---|
 Музей изящных искусств Гента (MSK) |
Гент | 2 | Lamoral, Count of Egmont, Taking Leave of His Wife, Young Polish Freedom Fighter |
 Королевский музей изящных искусств Антверпена |
Антверпен | 1 | The Fortune Teller |
 Музей изящных искусств |
Бостон | 1 | Faith, Hope and Charity |
Выберите десятилетие, чтобы увидеть его шедевр.
В начале списка — Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Музей изящных искусств Гента (MSK), Гент. Сразу за ней: The Fortune Teller (1828) и Young Polish Freedom Fighter (1834).
22 лет. Adèle Kindt родился в 1804, а работа Lamoral, Count of Egmont, Taking Leave of His Wife датируется 1826 годом.
В нашем каталоге 4 работ Adèle Kindt, созданных в период с 1826 по 1840.
Большинство из них можно найти в Музей изящных искусств Гента (MSK) (Гент), Королевский музей изящных искусств Антверпена (Антверпен) и Музей изящных искусств (Бостон). Полный список музеев представлен выше.
В 1820s — больше, чем в любой другой период: 2 из 4 работ на этой странице относятся к этому времени, Lamoral, Count of Egmont, Taking Leave of His Wife из них.
Самая ранняя работа здесь датирована Lamoral, Count of Egmont, Taking Leave of His Wife (1826), а самая поздняя — Faith, Hope and Charity (1840).
На этой странице вы можете увидеть 2 произведений из коллекции Музей изящных искусств Гента (MSK), Гент, включая Lamoral, Count of Egmont, Taking Leave of His Wife и Young Polish Freedom Fighter.
Да. Каждая картина на этой странице доступна в виде написанной вручную масляной репродукции или в виде печати в подходящем вам размере. Чтобы оформить заказ, просто перейдите на страницу картины.
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.
