Atnaujinta lapkritis 2026 · pagal mūsų populiarumumo koeficientą (paieškos, lankytojai ir užsakymai kiekvienam kūriniui) · 6 Sofie Ribbing darbai mūsų kataloge
Greitas atsakymas
Žymiausias Sofie Ribbing paveikslas yra Studiehode (1860); originalas saugomas National Museum of Art, Architecture and Design, Oslo. Self-portrait (1865) ir Painting (1894) yra skaičiai du ir tris. Iš 6 Sofie Ribbing darbų mūsų kataloge tai yra 6 garsiausi, surikiuoti pagal eilę, su nurodyta metais ir muziejumi, kad galėtumėte pasirinkti siųsti siuntinį.
4 muziejai, kuriuose saugoma daugiausia šioje pusėje esamų paveikslų.
| Muzejaus | Miestas | Sofie Ribbing darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 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 |
Gothenburg | 1 | Boys drawing |
35 metų Sofie Ribbing paveikių darbai, nuo 1860 iki 1894: peržiūrėkite laiko tętinį metais po metais ir pasirinkite laikotarpį, kurį norite pakabinti ant savo stelius.
Pasirinkite metus, kad pamatytumėte jų paveikslius.
Studiehode (1860), National Museum of Art, Architecture and Design, Oslo, užima pirmą vietą, o paskui sekia Self-portrait (1865) ir Painting (1894).
Sofie Ribbing buvo 25 metų: Studiehode datuota 1860 m., o Sofie Ribbing gimė 1835.
Mūsų kataloge yra 6 Sofie Ribbing darbų, datuoti nuo 1860 iki 1894.
Daugiausia – National Museum of Art, Architecture and Design (Oslo), Vasari Corridor (Florence) ir National Portrait Gallery of Sweden (Strängnäs). Pilną sąrašą rasite virš esančioje muzejos lentelėje.
Pirmiausia šioje puslapyje: Studiehode (1860). Paskutinė: Painting (1894).
National Museum of Art, Architecture and Design, Oslo kolekcijoje yra 3 šių įrangių paveikslų, įskaitant Studiehode, Painting ir Italiensk pike.
Taip. Kiekvieną šioje pusėje esantį paveikslą galite užsakyti kaip rankinio šešiojo aliejaus reprodukciją arba spausdiną. Pasidarykite paveikslą, pasirinkite dydį ir atlikite užsakymą.
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.
