Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 6 del v našem katalogu avtorja Sofie Ribbing
Hitri odgovor
Najbolj znano sliko avtorja Sofie Ribbing je Studiehode (1860); original se nahaja v muzeju Narodni muzej za umetnost, arhitekturo in dizajn, Oslo. Self-portrait (1865) in Painting (1894) sta številki dve in tri. Od 6 del umetnika Sofie Ribbing v našem katalogu so to 6 najbolj znanih, razvrščenih po letu nastanka in muzeju, da lahko izberete sliko za naročilo.
4 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Sofie Ribbing | Slike iz tega seznama |
|---|---|---|---|
 Narodni muzej za umetnost, arhitekturo in dizajn |
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 let slik umetnika Sofie Ribbing, od 1860 do 1894: brskajte po časovnici let po leti in izberite obdobje, ki si želite na svojem stenu.
Izberite leto, da si ogledate njegove slike.
Studiehode (1860), Narodni muzej za umetnost, arhitekturo in dizajn, Oslo, zaseda prvo mesto, sledijo ji Self-portrait (1865) in Painting (1894).
Sofie Ribbing je bil/a 25 let: Studiehode je datiran/a z letom 1860, Sofie Ribbing pa se je rodil/a v 1835.
V našem katalogu je 6 del umetnika Sofie Ribbing, datiranih od 1860 do 1894.
Predvsem v Narodni muzej za umetnost, arhitekturo in dizajn (Oslo), Vasari Corridor (Florence) in National Portrait Gallery of Sweden (Strängnäs). Za celoten seznam si oglej tabelo muzejev zgoraj.
Najstarejšo delo na tej strani: Studiehode (1860). Najboljše: Painting (1894).
V muzeju Narodni muzej za umetnost, arhitekturo in dizajn, Oslo se nahaja 3 slik iz tega seznama, vključno s slikami Studiehode, Painting in Italiensk pike.
Da. Vsako sliko na tej strani je mogoče naročiti kot ročno naslikano oljno reprodukcijo ali tiskano kopijo. Odprite sliko, izberite velikost in oddajte naročilo.
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.
