Atualizado em Novembro 2026 · classificado pela nossa pontuação de popularidade (pesquisas, visitas e pedidos de cada obra) · 6 obras de Sofie Ribbing em nosso catálogo
Em resumo
Se você conhece uma pintura de Sofie Ribbing, provavelmente é Studiehode (1860), que está exposta no National Museum of Art, Architecture and Design, em Oslo. Self-portrait (1865) e Painting (1894) completam as três obras que as pessoas reconhecem de imediato. Nosso catálogo possui 6 obras de Sofie Ribbing. Abaixo estão as 6 mais conhecidas, cada uma com seu ano, onde encontrá-la e o que a torna especial.
Os 4 museus que detêm a maioria das pinturas desta página.
| Museus | Cidade | Obras de Sofie Ribbing | Pinturas desta lista |
|---|---|---|---|
 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 |
As obras datadas de Sofie Ribbing aqui abrangem 35 anos, de 1860 a 1894. Explore-as ano a ano, com as peças mais conhecidas de cada período.
Escolha um ano para ver as suas obras.
No topo da lista está Studiehode (1860), National Museum of Art, Architecture and Design, Oslo. Logo atrás: Self-portrait (1865) e Painting (1894).
25 anos. Sofie Ribbing nasceu em 1835, e Studiehode é de 1860.
Temos 6 obras de Sofie Ribbing em nosso catálogo, datadas de 1860 a 1894.
Encontrará a maioria deles em National Museum of Art, Architecture and Design (Oslo), Vasari Corridor (Florence) e National Portrait Gallery of Sweden (Strängnäs). A lista de museus acima apresenta o detalhamento completo.
A obra mais antiga aqui é Studiehode (1860); a mais recente é Painting (1894).
Pode ver 3 das obras nesta página no National Museum of Art, Architecture and Design, Oslo, incluindo Studiehode, Painting e Italiensk pike.
Sim. Todas as pinturas nesta página estão disponíveis como uma reprodução a óleo pintada à mão ou uma impressão, no tamanho que melhor lhe convier. Basta abrir a página da pintura para fazer o seu pedido.
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.
