Uppdaterad november 2026 · rangordnad efter vår popularitetspoäng (sökningar, besök och beställningar för varje verk) · 4 verk av Adèle Kindt i vår katalog
Kortfattat
Adèle Kindts mest kända verk är Lamoral, Count of Egmont, Taking Leave of His Wife (1826). Du hittar det på Museum of Fine Arts Ghent (MSK) i Gent. Nästa på listan är The Fortune Teller (1828) och Young Polish Freedom Fighter (1834). Vi har 4 verk av Adèle Kindt i vår katalog; denna guide lyfter fram de 4 mest kända, med årtal, museum och historien bakom varje verk.
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 mest framstående verk.
Högst upp på listan står Lamoral, Count of Egmont, Taking Leave of His Wife (1826), Museum of Fine Arts Ghent (MSK), Gent. Direkt efter följer The Fortune Teller (1828) och Young Polish Freedom Fighter (1834).
22 år gammal. Adèle Kindt föddes 1804 och Lamoral, Count of Egmont, Taking Leave of His Wife är från 1826.
Vi har 4 verk av Adèle Kindt i vår katalog, daterade från 1826 till 1840.
Du hittar de flesta av dem i Museum of Fine Arts Ghent (MSK) (Gent), Koninklijk Museum voor Schone Kunsten Antwerpen (Antwerpen) och Museum of Fine Arts (Boston). Listan över museer ovan ger en fullständig sammanställning.
Under 1820s, mer än någon annan tid: 2 av de 4 verk som finns på denna sida är från den tiden, varav Lamoral, Count of Egmont, Taking Leave of His Wife.
Det äldsta verket här är Lamoral, Count of Egmont, Taking Leave of His Wife (1826); det senaste är Faith, Hope and Charity (1840).
Du kan se 2 av verken på denna sida på Museum of Fine Arts Ghent (MSK), Gent, inklusive Lamoral, Count of Egmont, Taking Leave of His Wife och Young Polish Freedom Fighter.
Ja. Varje målning på denna sida finns tillgänglig som en handmålad oljereproduktion eller som ett tryck, i den storlek som passar dig. Gå bara in på målningens sida för att beställa.
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.
