Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 6 del v našem katalogu avtorja Sofie Ribbing
Kratek opis
Če poznate eno sliko avtorja Sofie Ribbing, je to verjetno Studiehode (1860), ki je razpostavljena v muzeju Narodni muzej za umetnost, arhitekturo in dizajn, Oslo. Self-portrait (1865) in Painting (1894) dopolnjujeta tri dela, ki jih ljudje takoj prepoznajo. Naš katalog vsebuje 6 del avtorja Sofie Ribbing. Spodaj je 6 najbolj znanih del, vsako z letom nastanja, informacijo o tem, kje je zasnovano in kaj ga dela posebnega.
4 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Sofie Ribbing | Slike iz tega seznama |
|---|---|---|---|
 Narodni muzej za umetnost, arhitekturo in dizajn |
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 |
Delo umetnika Sofie Ribbing tukaj obdaja obdobje 35 let, od 1860 do 1894. Pregledajte jih letnik po letniku, z najbolj znanimi dzieji vsakega obdobja.
Izberite leto in oglej njegova dela.
Na vrhu liste je Studiehode (1860), Narodni muzej za umetnost, arhitekturo in dizajn, Oslo. Takoj za njim sta Self-portrait (1865) in Painting (1894).
Starosti 25 let. Sofie Ribbing se je rodil(a) leta 1835, njegovo/njino delo Studiehode pa izvira iz leta 1860.
V našem katalogu je 6 del umetnika Sofie Ribbing, datiranih od 1860 do 1894.
Večino njih boste našli v Narodni muzej za umetnost, arhitekturo in dizajn (Oslo), Vasari Corridor (Florence) in National Portrait Gallery of Sweden (Strängnäs). Na seznamu muzejev zgoraj je naveden celoten pregled.
Najstarejše delo tukaj je Studiehode (1860); najsodobnejše je Painting (1894).
Na tej strani lahko v muzeju Narodni muzej za umetnost, arhitekturo in dizajn, Oslo vidite 3 dela, vključno s作品ami Studiehode, Painting in Italiensk pike.
Da. Vsaka slika na tej strani je na voljo kot ročno slikano oljno reprodukcijo ali tiskano kopijo v velikosti, ki vam ustreza. Za naročilo le odprite stran slike.
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.
