Mis à jour en novembre 2026 · classé selon notre score de popularité (recherches, visites et commandes pour chaque œuvre) · 6 œuvres de Sofie Ribbing dans notre catalogue
En bref
Si vous connaissez une peinture de Sofie Ribbing, il s'agit probablement de Studiehode (1860), qui est exposée au National Museum of Art, Architecture and Design, à Oslo. Self-portrait (1865) et Painting (1894) complètent les trois œuvres que l'on reconnaît immédiatement. Notre catalogue comprend 6 œuvres de Sofie Ribbing. Voici les 6 plus célèbres, avec leur année, leur lieu de conservation et ce qui les rend uniques.
Les 4 musées qui détiennent la plupart des peintures de cette page.
| Musées | Ville | Œuvres de Sofie Ribbing | Peintures de cette liste |
|---|---|---|---|
 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 |
Göteborg | 1 | Boys drawing |
Les œuvres datées de Sofie Ribbing s'étendent ici sur 35 ans, de 1860 à 1894. Parcourez-les année par année, avec les pièces les plus célèbres de chaque période.
Choisissez une année pour voir ses œuvres.
En tête de liste figure Studiehode (1860), National Museum of Art, Architecture and Design, Oslo. Juste après : Self-portrait (1865) et Painting (1894).
Âgé de 25 ans. Sofie Ribbing est né(e) en 1835, et Studiehode date de 1860.
Nous avons 6 œuvres de Sofie Ribbing dans notre catalogue, datées de 1860 à 1894.
Vous les trouverez pour la plupart dans National Museum of Art, Architecture and Design (Oslo), Vasari Corridor (Florence) et National Portrait Gallery of Sweden (Strängnäs). La liste des musées ci-dessus présente le détail complet.
La plus ancienne œuvre ici est Studiehode (1860) ; la plus récente est Painting (1894).
Vous pouvez voir 3 des œuvres sur cette page au National Museum of Art, Architecture and Design, Oslo, dont Studiehode, Painting et Italiensk pike.
Oui. Chaque tableau de cette page est disponible en tant que reproduction à l'huile peinte à la main ou en impression, dans la taille qui vous convient. Il vous suffit d'ouvrir la page du tableau pour commander.
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.
