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Studiehode
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Le tableau qui a fait la renommée de Sofie Ribbing est Studiehode (1860) ; il est exposé au National Museum of Art, Architecture and Design, à Oslo. Self-portrait (1865) et Painting (1894) les suivent dans le cœur des collectionneurs et des visiteurs de musées. Sur les 6 œuvres de Sofie Ribbing présentes dans notre catalogue, voici les 6 plus admirées, chacune présentée avec sa date, son musée et ce qui la distingue.
Classé selon notre score de popularité, qui combine les recherches, les visites et les commandes pour chaque œuvre. Mis à jour novembre 2026. Chaque chef-d'œuvre de cette page peut être commandé sous forme de reproduction à l'huile peinte à la main de qualité musée ou d'une impression d'art de haute qualité, dans le format de votre choix.
Les 4 musées qui détiennent la plupart des peintures de cette page.
| Musées | Ville | Œuvres de Sofie Ribbing | Peintures de cette liste |
|---|---|---|---|
 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 |
Göteborg | 1 | Boys drawing |
De 1860 à 1894, 35 années de l'art de Sofie Ribbing, année après année, à travers ses plus beaux tableaux.
Studiehode (1860), National Museum of Art, Architecture and Design, Oslo. Viennent ensuite Self-portrait (1865) et Painting (1894).
25 ans : Studiehode date de 1860 et Sofie Ribbing est né(e) en 1835.
Notre catalogue répertorie 6 œuvres de Sofie Ribbing, datées de 1860 à 1894.
La plupart se trouvent dans National Museum of Art, Architecture and Design (Oslo), Vasari Corridor (Florence) et National Portrait Gallery of Sweden (Strängnäs). Le tableau ci-dessus répertorie les musées un par un.
La plus ancienne de cette page date de Studiehode (1860), la plus récente de Painting (1894).
Studiehode, Painting et Italiensk pike figurent parmi les 3 œuvres de cette page détenues par le National Museum of Art, Architecture and Design, Oslo.
Oui. Chaque tableau de cette page peut être commandé sous forme de reproduction à l'huile peinte à la main de qualité musée ou d'une impression d'art de haute qualité, dans la taille de votre choix, depuis la page propre au tableau.
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.