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Studiehode
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Het schilderij dat Sofie Ribbing beroemd maakte is Studiehode (1860); het hangt in het National Museum of Art, Architecture and Design, Oslo. Self-portrait (1865) en Painting (1894) volgen in de harten van verzamelaars en museumbezoekers. Van de 6 werken van Sofie Ribbing in onze catalogus zijn dit de 6 meest bewonderde, elk gepresenteerd met de datum, het museum en wat het uniek maakt.
Gerangschikt op basis van onze populariteitsscore, die de zoekopdrachten, bezoeken en bestellingen voor elk werk combineert. Bijgewerkt in november 2026. Elk meesterwerk op deze pagina kan worden besteld als een handgeschilderde olieverfreproductie van museumkwaliteit of als een fine art print, in de door u gekozen afmeting.
De 4 musea met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Sofie Ribbing | Schilderijen uit deze lijst |
|---|---|---|---|
 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 |
Van 1860 tot 1894, 35 jaar aan kunst van Sofie Ribbing, jaar voor jaar, via de mooiste schilderijen.
Studiehode (1860), National Museum of Art, Architecture and Design, Oslo. Daarna volgen Self-portrait (1865) en Painting (1894).
25 jaar oud: Studiehode dateert uit 1860 en Sofie Ribbing werd geboren in 1835.
Onze catalogus bevat 6 werken van Sofie Ribbing, gedateerd van 1860 tot 1894.
De meeste bevinden zich in National Museum of Art, Architecture and Design (Oslo), Vasari Corridor (Florence) en National Portrait Gallery of Sweden (Strängnäs). De bovenstaande tabel somt de musea één voor één op.
De oudste op deze pagina is Studiehode (1860), de nieuwste Painting (1894).
Studiehode, Painting en Italiensk pike behoren tot de 3 werken op deze pagina die in het National Museum of Art, Architecture and Design, Oslo worden bewaard.
Ja. Elk schilderij op deze pagina kan worden besteld als een handgeschilderde olieverfreproductie van museumkwaliteit of als een fine art print, in de door u gekozen afmeting, via de eigen pagina van het schilderij.
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.