Ažurirano Studeni 2026 · rangirano prema našoj ocjeni popularnosti (pretraživanja, posjeti i narudžbe za svako djelo) · 6 djela Sofie Ribbing u našem katalogu
Ukratko
Ako znate jedno djelo Sofie Ribbing, to je vjerojatno Studiehode (1860) koje se nalazi u muzeju National Museum of Art, Architecture and Design, Oslo. Self-portrait (1865) i Painting (1894) upotpunjuju trojicu djela koja ljudi odmah prepoznaju. Naš katalog sadrži 6 djela umjetnika Sofie Ribbing. U nastavku je 6 najpoznatijih djela, s navedenom godinom nastanka, mjestom gdje se mogu pronaći i onim što ih čini posebnima.
4 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Sofie Ribbing | Slike iz ovog popisa |
|---|---|---|---|
 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 |
Radovi umjetnika Sofie Ribbing ovdje obuhvaćaju razdoblje od 35 godina, od 1860 do 1894. Pregledajte ih godinu po godinu, uz najpoznatija djela iz svake godine.
Odaberite godinu kako biste vidjeli njezina djela.
Na vrhu liste je Studiehode (1860), National Museum of Art, Architecture and Design, Oslo. Odmah iza njega su: Self-portrait (1865) i Painting (1894).
25 godina. Sofie Ribbing je rođen/a 1835, a djelo Studiehode datira iz 1860.
U našem katalogu imamo 6 djela umjetnika Sofie Ribbing, datiranih od 1860 do 1894.
Većinu njih možete pronaći u National Museum of Art, Architecture and Design (Oslo), Vasari Corridor (Florence) i National Portrait Gallery of Sweden (Strängnäs). Na gornjoj listi muzeja nalazi se detaljan pregled.
Najstarije djelo ovdje je Studiehode (1860), a najnovije je Painting (1894).
Na ovoj stranici možete vidjeti 3 djela u muzeju National Museum of Art, Architecture and Design, Oslo, uključujući Studiehode, Painting i Italiensk pike.
Da. Svaka slika na ovoj stranici dostupna je kao ručno oslikana uljana reprodukcija ili kao tisak, u veličini koja vam odgovara. Jednostavno otvorite stranicu slike kako biste je naručili.
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.
