Mis à jour en novembre 2026 · classé selon notre score de popularité (recherches, visites et commandes pour chaque œuvre) · 6 œuvres de Sofie Ribbing dans notre catalogue
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La peinture la plus célèbre de Sofie Ribbing est Studiehode (1860) ; l'original se trouve au National Museum of Art, Architecture and Design, à Oslo. Self-portrait (1865) et Painting (1894) sont les chiffres deux et trois. Parmi les 6 œuvres de Sofie Ribbing dans notre catalogue, voici les 6 plus célèbres, classées par année et par musée, afin que vous puissiez choisir la peinture à commander.
Les 4 musées qui détiennent la plupart des peintures de cette page.
| Musées | Ville | Œuvres de Sofie Ribbing | Peintures de cette liste |
|---|---|---|---|
 National Museum of Art, Architecture and Design |
Oslo | 3 | Studiehode, Painting, Italiensk pike |
 Vasari Corridor |
Florence | 1 | Self-portrait |
 National Portrait Gallery of Sweden |
Strängnäs | 1 | Helena Roed (1843-1926), dansk, verksam i Sverige, författare, kulturskribent, g.m. professorn i estetik Carl Rupert Nyblom |
 Gothenburg Museum of Art |
Göteborg | 1 | Boys drawing |
35 années de peintures de Sofie Ribbing, de 1860 à 1894 : parcourez la chronologie année par année et choisissez la période que vous souhaitez accrocher à votre mur.
Sélectionnez une année pour voir ses peintures.
Studiehode (1860), National Museum of Art, Architecture and Design, Oslo, arrive en première position, suivi de Self-portrait (1865) et Painting (1894).
Sofie Ribbing avait 25 ans : Studiehode date de 1860, et Sofie Ribbing est né(e) en 1835.
6 œuvres de Sofie Ribbing figurent dans notre catalogue, datées de 1860 à 1894.
Principalement dans National Museum of Art, Architecture and Design (Oslo), Vasari Corridor (Florence) et National Portrait Gallery of Sweden (Strängnäs). Consultez le tableau des musées ci-dessus pour la liste complète.
Plus ancien sur cette page : Studiehode (1860). Plus récent : Painting (1894).
Le National Museum of Art, Architecture and Design, Oslo détient 3 des peintures classées ici, dont Studiehode, Painting et Italiensk pike.
Oui. Chaque tableau de cette page peut être commandé sous forme de reproduction à l'huile peinte à la main ou d'impression. Ouvrez le tableau, choisissez la taille et passez votre commande.
The Södraholm estate in Adelöv parish holds the beginning of Sofie Amalia Ribbing’s story. Born in 1835 to Swedish nobility, her early years are framed by the Bråneryd estate near Jönköping. Her father, Per Arvid Ribbing, manages the local district court, while her mother, Karolina Augusta Ehrencrona, brings a lineage of high standing. This aristocratic upbringing provides more than just status; it offers an early immersion in fine painting collections that shape her developing eye.
The trajectory shifts in 1850. The Royal Swedish Academy of Fine Arts in Stockholm becomes her first formal training ground. But the borders of Sweden are too small for her ambitions. She moves toward the Düsseldorf Academy, seeking the guidance of Karl Ferdinand Sohn. This transition marks a departure from local tradition toward the influential Düsseldorf School style. Her education expands through the streets of Paris, where she works under Jean-BT-Ange Tissier, and into Brussels, studying under Louis Gallait.
Her brush finds its strength in the intimate and the domestic. She specializes in portraits and genre scenes, often capturing families within their private settings. In 1864, a specific moment of creation emerges: Ritande Gossar, or Boys Drawing. The work gains immediate recognition, eventually being acquired by the Gothenburg Art Association for a record sum. This painting later earns a place in the Europeana 280 project, representing Swedish art to a broader European audience.
Her technical development follows a path of geographic expansion. As she moves through Copenhagen, London, and Rome, her subject matter adapts to the light and people she encounters. Her portfolio includes:
The map of her life is a series of studio visits and exhibitions. She establishes herself in the Brussels Salon in 1866 and participates in the Industrial Exposition of Stockholm that same year. Her presence is felt in London’s Royal Academy during the 1870s, and she displays works in Copenhagen and Amsterdam. These are not merely travels; they are professional engagements that place her work in the hands of major institutions.
Her final chapters unfold far from her Swedish birthplace. She spends time in Rome, sharing the company of fellow artists like Agnes Börjesson. The end comes in 1894 in Christiania, now Oslo, while she is visiting Norway. Her legacy remains anchored in the permanent collections of the Uffizi Gallery, the National Gallery of Norway, and the Nationalmuseum in Stockholm.
