Bijgewerkt in november 2026 · gerangschikt op basis van onze populariteitsscore (zoekopdrachten, bezoeken en bestellingen per kunstwerk) · 6 werken van Sofie Ribbing in onze catalogus
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Het beroemdste schilderij van Sofie Ribbing is Studiehode (1860); het origineel bevindt zich in het National Museum of Art, Architecture and Design, Oslo. Self-portrait (1865) en Painting (1894) zijn de getallen twee en drie. Van de 6 werken van Sofie Ribbing in onze catalogus zijn dit de 6 bekendste, gerangschikt met elk hun jaartal en museum, zodat u het schilderij kunt kiezen om te bestellen.
De 4 musea met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Sofie Ribbing | Schilderijen uit deze lijst |
|---|---|---|---|
 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 jaar aan werken van Sofie Ribbing, van 1860 tot 1894: blader jaar voor jaar door de tijdlijn en kies de periode die u aan uw muur wilt hangen.
Selecteer een jaar om de bijbehorende schilderijen te bekijken.
Studiehode (1860), National Museum of Art, Architecture and Design, Oslo, staat op de eerste plaats, gevolgd door Self-portrait (1865) en Painting (1894).
Sofie Ribbing was 25 jaar oud: Studiehode dateert uit 1860, en Sofie Ribbing werd geboren in 1835.
6 werken van Sofie Ribbing zijn opgenomen in onze catalogus, gedateerd van 1860 tot 1894.
Voornamelijk in National Museum of Art, Architecture and Design (Oslo), Vasari Corridor (Florence) en National Portrait Gallery of Sweden (Strängnäs). Zie de museumtabel hierboven voor de volledige lijst.
Eerste op deze pagina: Studiehode (1860). Laatste: Painting (1894).
Het National Museum of Art, Architecture and Design, Oslo herbergt 3 van de schilderijen in deze ranglijst, waaronder Studiehode, Painting en Italiensk pike.
Ja. Elk schilderij op deze pagina kan worden besteld als een handgeschilderde olieverfreproductie of als een print. Open het schilderij, kies de gewenste afmeting en plaats uw bestelling.
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.
