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Studiehode
Håndmalet oliereproduktion fra $181 28 × 36 cm
Samme størrelse som originalen $225 44 × 56 cm Bestil i original størrelse →
Maleriet, der gjorde Sofie Ribbing berømt, er Studiehode (1860); det hænger på Nationalmuseet for kunst, arkitektur og design i Oslo. Self-portrait (1865) og Painting (1894) følger efter i samlernes og museumsgæsternes hjerter. Af de 6 værker af Sofie Ribbing i vores katalog er disse 6 de mest beundrede, hver præsenteret med sit årstal, sit museum og det, der gør værket unikt.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret november 2026. Hvert mesterværk på denne side kan bestilles som en håndmalet oliereproduktion i museumskvalitet eller som et kunsttryk i den størrelse, du vælger.
De 4 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Sofie Ribbing | Malerier fra denne liste |
|---|---|---|---|
 Nationalmuseet for kunst, arkitektur og 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 |
Fra 1860 til 1894, 35 års Sofie Ribbings kunst, år for år, gennem dens fineste malerier.
Studiehode (1860), Nationalmuseet for kunst, arkitektur og design, Oslo. Derefter følger Self-portrait (1865) og Painting (1894).
25 år gammel: Studiehode er fra 1860, og Sofie Ribbing blev født i 1835.
Vores katalog indeholder 6 værker af Sofie Ribbing, dateret fra 1860 til 1894.
De fleste af dem findes i Nationalmuseet for kunst, arkitektur og design (Oslo), Vasari Corridor (Florence) og National Portrait Gallery of Sweden (Strängnäs). Tabellen ovenfor lister museerne enkeltvis.
Det tidligste på denne side er Studiehode (1860), det seneste Painting (1894).
Studiehode, Painting og Italiensk pike er blandt de 3 værker på denne side, som er i Nationalmuseet for kunst, arkitektur og design, Oslo's samling.
Ja. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion i museums kvalitet eller som et kunstprint i den størrelse, du ønsker, direkte fra maleriets egen side.
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.