Aktualizované november 2026 · zoradené podľa našej miery popularity (vyhľadávanie, návštevy a objednávky pre každú prácu) · 6 dielov umelca Sofie Ribbing v našom katalógu
Rýchla odpoveď
Najznámejším obrazom, ktorý vytvoril Sofie Ribbing, je Studiehode (1860); originál sa nachádza v Národné múzeum umenia, architektúry a dizajnu, Oslo. Self-portrait (1865) a Painting (1894) sú čísla dve a tri. Z 6 diel umelca Sofie Ribbing v našom katalógu je tu týchto 6 najznámejších, usporiadaných podľa popularity, pričom každá obsahuje rok a múzeum, aby ste si mohli vybrať obraz na objednanie.
4 múzeá, v ktorých sa nachádza najviac obrazov z tejto stránky.
| Múzeum | Mesto | Diela umelca Sofie Ribbing | Obrazy z tohto zoznamu |
|---|---|---|---|
 Národné múzeum umenia, architektúry a dizajnu |
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 rokov tvorby umelca Sofie Ribbing, od 1860 do 1894: prehliadajte časovú os rok po roku a vyberte si obdobie, ktoré si chcete vystaviť na stene.
Vyberte rok a pozrite si jeho obrazy.
Studiehode (1860), Národné múzeum umenia, architektúry a dizajnu, Oslo, zaužíva prvé miesto, za ktorým nasledujú Self-portrait (1865) a Painting (1894).
Sofie Ribbing mal 25 rokov: Studiehode je datované 1860 a Sofie Ribbing sa narodil v 1835.
V našom katalógu sa nachádza 6 diel od umelca Sofie Ribbing, datovaných od 1860 do 1894.
Predovšetkým v Národné múzeum umenia, architektúry a dizajnu (Oslo), Vasari Corridor (Florence) a National Portrait Gallery of Sweden (Strängnäs). Pre úplný zoznam pozrite tabuľku múzeí vyššie.
Najstaršie na tejto stránke: Studiehode (1860). Najnovšie: Painting (1894).
V múzeu Národné múzeum umenia, architektúry a dizajnu, Oslo sa nachádza 3 z tu uvedených obrazov, vrátane Studiehode, Painting a Italiensk pike.
Áno. Každý obraz na tejto stránke si môžete objednať ako ručne maľovanú olejobraskovú reprodukciu alebo ako tlač. Otvorte obraz, vyberte si veľkosť a dokončite objednávku.
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.
