Ažurirano: новембар 2026 · rangirano prema našem koeficijentu popularnosti (pretrage, posete i porudžbine za svako delo) · 6 dela Sofie Ribbing u našem katalogu
Ukratko
Ako znate bilo koju sliku koju je stvorio Sofie Ribbing, to je verovatno Studiehode (1860), koja se nalazi u muzeju National Museum of Art, Architecture and Design, Oslo. Self-portrait (1865) i Painting (1894) dopunjuju tri dela koja ljudi odmah prepoznaju. Naš katalog sadrži 6 dela umetnika Sofie Ribbing. Ispod su 6 najpoznatijih dela, sa informacijama o godini nastanka, mestu gde se mogu pronaći i onome što ih čini posebnim.
4 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Sofie Ribbing | Slike iz ovog spiska |
|---|---|---|---|
 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 umetnika Sofie Ribbing ovde obuhvataju period od 35 godina, od 1860 do 1894. Pregledajte ih godinu po godinu, uz najpoznatija dela iz svake godine.
Izaberite godinu da biste videli njena dela.
Na vrhu liste je Studiehode (1860), National Museum of Art, Architecture and Design, Oslo. Odmah za njim su: Self-portrait (1865) i Painting (1894).
25 godina. Sofie Ribbing je rođen/a 1835, a delo Studiehode datira iz 1860.
U našem katalogu imamo 6 dela umetnika 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 spisku muzeja iznad nalazi se detaljan pregled.
Najstarije delo ovde je Studiehode (1860); najnovije je Painting (1894).
Na ovoj stranici možete videti 3 dela 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 slikano ulje na platnu ili kao štampa, u veličini koja vam odgovara. Samo otvorite stranicu slike da biste izvršili porudžbinu.
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.
