Kasım 2026 tarihinde güncellendi · popülerlik puanımıza göre sıralanmıştır (her bir eser için aramalar, ziyaretler ve siparişler) · 6 eser Sofie Ribbing kataloğumuzda
Hızlı yanıt
Sofie Ribbing tarafından yapılan en ünlü tablo Studiehode (1860) eseridir; orijinali Oslo, National Museum of Art, Architecture and Design bünyesinde bulunmaktadır. Self-portrait (1865) ve Painting (1894) iki ve üç sayılarındandır. Katalogumuzdaki Sofie Ribbing imzalı 6 eser arasından, en ünlü 6 eser; her biri yılı ve müzesiyle birlikte sıralanmış olarak, sipariş vereceğiniz tabloyu seçebilmeniz için aşağıda sunulmuştur.
Bu sayfadaki tabloların çoğuna ev sahipliği yapan 4 müze.
| Müze | Şehir | Sofie Ribbing Eserleri | Bu listedeki tablolar |
|---|---|---|---|
 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 |
Sofie Ribbing tablolarının 35 yılı, 1860 - 1894: zaman çizelgesinde yıl yıl gezinin ve duvarınız için istediğiniz dönemi seçin.
Tablolarını görmek için bir yıl seçin.
Studiehode (1860), National Museum of Art, Architecture and Design, Oslo, birinci sırada yer alırken, onu Self-portrait (1865) ve Painting (1894) takip ediyor.
Sofie Ribbing 25 yaşındaydı: Studiehode 1860 tarihli bir eserdir ve Sofie Ribbing 1835 yılında doğmuştur.
Sofie Ribbing tarafından yapılan 6 eser, 1860 ile 1894 tarihleri arasında katalogumuzda yer almaktadır.
Ağırlıklı olarak National Museum of Art, Architecture and Design (Oslo), Vasari Corridor (Florence) ve National Portrait Gallery of Sweden (Strängnäs) bünyesinde bulunmaktadır. Tam liste için yukarıdaki müze tablosuna bakınız.
Bu sayfadaki en eski eser: Studiehode (1860). En yeni eser: Painting (1894).
National Museum of Art, Architecture and Design, Oslo, Studiehode, Painting ve Italiensk pike dahil olmak üzere burada sıralanan tablolardan 3 tanesine ev sahipliği yapmaktadır.
Evet. Bu sayfadaki tüm tablolar, el yapımı yağlı boya reprodüksiyon veya baskı olarak sipariş edilebilir. Tabloyu açın, boyutu seçin ve siparişinizi verin.
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.
