Oppdatert November 2026 · rangert etter vår popularitetsscore (søk, besøk og bestillinger for hvert verk) · 6 verk av Sofie Ribbing i vår katalog
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Det mest kjente maleriet av Sofie Ribbing er Studiehode (1860); originalen befinner seg i Nasjonalmuseet, Oslo. Self-portrait (1865) og Painting (1894) er tallene to og tre. Av de 6 verkene av Sofie Ribbing i vår katalog, er dette de 6 mest kjente, rangert med årstall og museum, slik at du kan velge maleriet du ønsker å bestille.
De 4 museene som innehar flest av maleriene på denne siden.
| Museum | By | Verker av Sofie Ribbing | Malerier fra denne listen |
|---|---|---|---|
 Nasjonalmuseet |
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 år med Sofie Ribbing-malerier, fra 1860 til 1894: bla gjennom tidslinjen år for år og velg perioden du ønsker på veggen din.
Velg et år for å se maleriene fra det året.
Studiehode (1860), Nasjonalmuseet, Oslo, rangerer som nummer én, etterfulgt av Self-portrait (1865) og Painting (1894).
Sofie Ribbing var 25 år gammel: Studiehode er datert 1860, og Sofie Ribbing ble født i 1835.
6 verk av Sofie Ribbing finnes i vår katalog, datert fra 1860 til 1894.
Hovedsakelig i Nasjonalmuseet (Oslo), Vasari Corridor (Florence) og National Portrait Gallery of Sweden (Strängnäs). Se museumstabellen ovenfor for den fullstendige listen.
Eldste på denne siden: Studiehode (1860). Nyeste: Painting (1894).
Nasjonalmuseet, Oslo har 3 av maleriene som er rangert her, inkludert Studiehode, Painting og Italiensk pike.
Ja. Alle malerier på denne siden kan bestilles som en håndmalt oljereproduksjon eller som et trykk. Åpne maleriet, velg størrelse og legg inn din bestilling.
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.
