Aktualizované november 2026 · zoradené podľa našej miery popularity (vyhľadávanie, návštevy a objednávky pre každou prácu) · 6 dielov umelca Sofie Ribbing v našom katalógu
Stručne povedané
Ak poznáte jedno dielo od Sofie Ribbing, je to pravdepodobne Studiehode (1860), ktoré visí v Národné múzeum umenia, architektúry a dizajnu, Oslo. Self-portrait (1865) a Painting (1894) dopĺňajú trojicu diel, ktoré ľudia okamžite rozpoznajú. Náš katalóg obsahuje 6 diel od umelca Sofie Ribbing. Nižšie nájdete 6 najznámejších diel, z ktorých každé obsahuje rok vzniku, informáciu o tom, kde sa nachádzajú, a to, čo ich robí výnimočnými.
4 múzeá, v ktorých sa nachádza najviac obrazov z tejto stránky.
| Múzeá | Mesto | Diela umelca Sofie Ribbing | Obrazy z tohto zoznamu |
|---|---|---|---|
 Národné múzeum umenia, architektúry a dizajnu |
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 |
Dátované diela umelca Sofie Ribbing sa tu rozprestierajú v období 35 rokov, od 1860 až po 1894. Prehliadajte si ich rok po roku spolu s jeho najznámejšími dielami.
Vyberte si rok a pozrite si jeho diela.
Na vrchole zoznamu je Studiehode (1860), Národné múzeum umenia, architektúry a dizajnu, Oslo. Hneď za ním nasledujú: Self-portrait (1865) a Painting (1894).
25 rokov. Sofie Ribbing sa narodil/a v 1835 a dielo Studiehode pochádza z roku 1860.
V našom katalógu máme 6 diel od umelca Sofie Ribbing, datovaných od 1860 do 1894.
Väčšinu z nich nájdete v Národné múzeum umenia, architektúry a dizajnu (Oslo), Vasari Corridor (Florence) a National Portrait Gallery of Sweden (Strängnäs). Zoznam múzeí vyššie obsahuje podrobný prehľad.
Najstaršie dielo je z Studiehode (1860); najnovšie je z Painting (1894).
Na tejto stránke môžete vidieť 3 diel v múzeu Národné múzeum umenia, architektúry a dizajnu, Oslo, vrátane Studiehode, Painting a Italiensk pike.
Áno. Každý obraz na tejto stránke je dostupný ako ručne maľovaná olejná reprodukcia alebo ako tlač, v rozmeroch, ktoré vám vyhovujú. Pre objednanie stačí otvoriť stránku konkrétneho obrazu.
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.
