Copyright This work is in the public domain. William Henry Singer died in 1943; copyright lasts 70 years after the artist’s death, so it ended in 2013.
In context
Intermezzo — William Henry Singer
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 75 at death.
Painted when the artist was 49. The artist lived to 75. 1 of the 3 dated works by this artist in our catalogue came earlier.
Shaded: the lifetime of William Henry Singer (1868–1943) ▲ this work, 1917 every dated painting, decade by decade
Pick one work above: name two things it shares with this one, and one thing that's different.
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Measured from the image
Main colour
Rosy Brown #bdb6a6
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
Artist and museum
Born into the shadow of industry, William Henry Singer was destined for a life of commerce, yet his spirit sought the quietude of the canvas. As the son of a steel baron who famously sold the Pittsburgh Bessemer Steel Co. to Andrew Carnegie, his path was seemingly paved with the heavy, metallic certainties of American business. His father, however, held a different vision for his son, insisting that if he chose the life of an artist, he must earn his own way. This tension between the industrial wealth of his lineage and the uncertain life of a painter shaped his early years, driving him away from the steel mills and toward the rugged coastlines of Monhegan, Maine. There, amidst an artist colony, he began to find his own voice, trading the soot of Pittsburgh for the salt spray of the Atlantic.
The pull of Europe eventually drew him across the ocean, a move that would define his legacy. In 1901, he sought formal discipline at the Académie Julian in Paris, studying under Martin Borgord. This period of rigorous training provided the technical foundation for a style that would eventually find its home in the Netherlands. He and his wife, Anna, eventually settled in Laren, a village that had become a sanctuary for painters. In this Dutch landscape, the American painter found a sense of belonging, weaving his own experiences into the traditions of the Laren School and the Hague School.
His work often captured the subtle shifts of the seasons, finding beauty in the stillness of a winter scene or the movement of water. His paintings reflect a deep connection to the environments he inhabited, from the rocky shores of Maine to the pastoral stretches of the Netherlands. His technical approach allowed him to translate the atmosphere of a place into a visual language of light and shadow.
His artistic output includes several notable subjects that highlight his ability to interpret nature:
Winter landscapes near a lakeside town
Autumnal scenes featuring cascading waterfalls
Snowy landscapes that capture the weight of the season
Seascapes influenced by his time on the American coast
The connection between the artist and the land he chose to call home remained unbroken even after his passing in 1943. His wife, Anna, ensured that his life's work was not lost to time, eventually establishing a foundation that would transform their home, De Wilde Zwanen, into a place of cultural significance. This establishment allowed his collection, along with the works of his contemporaries, to be preserved for those who seek to understand the artistic currents of the late nineteenth and early twentieth centuries. Today, his presence is felt in the very soil of Laren, where his memory is held within the walls of the museum that bears his name.
On show in Maastricht, Netherlands
Nestled within the vibrant heart of Maastricht, Netherlands, the Bonnefanten Museum isn't merely a repository for art; it’s an experience—a carefully orchestrated conversation between eras, styles, and perspectives. Founded in 1884 as a provincial historical collection, its evolution into a leading center for both historical and contemporary masterpieces is a testament to the city’s rich cultural heritage and the museum's commitment to fostering dynamic artistic dialogue. The building itself, designed by the renowned Italian architect Aldo Rossi, is an integral part of this narrative—a bold, rocket-shaped cupola piercing the Maastricht skyline, a deliberate echo of the museum’s journey from humble beginnings to its current position as a significant European institution. This architectural statement isn't simply aesthetic; it represents a conscious bridging of past and future, tradition and innovation, inviting visitors to contemplate the very essence of art and architecture.
A Historical Foundation:
The museum’s roots lie in the “bons enfants” – good children – a former convent that sheltered its early collections. This lineage imbues the space with a sense of history and continuity, grounding the contemporary exhibitions within a broader narrative of artistic evolution.
The Rossi Revolution:
Aldo Rossi's design is more than just a building; it’s an active participant in the museum experience. The dramatic cupola serves as a focal point, drawing visitors upwards and creating a sense of openness and connection to the city below. Its geometric form challenges conventional notions of museum architecture, prompting reflection on the relationship between space, form, and artistic expression.
The Bonnefanten Museum’s collection is remarkably diverse, a carefully curated blend of historical masterpieces and groundbreaking contemporary works. Within its walls, one can trace the evolution of artistic styles across centuries, from the intricate detail of medieval sculptures – including the poignant “Virgin and Child with St. Anne” by the Master of Elsloo – to the vibrant colors and dramatic compositions of early Italian and Flemish paintings. The museum’s holdings boast a significant collection of works by masters such as Jan van Steffeswert, Pieter Coecke van Aelst, and Anthony van Dyck, offering intimate glimpses into the lives and beliefs of bygone eras.
However, the Bonnefanten Museum isn't confined to the past. It embraces the dynamism of contemporary art with equal fervor, showcasing works by artists like Sol LeWitt, Robert Ryman, Jan Dibbets, and Marcel Broodthaers. The addition of the Eyck collection in 2011 dramatically expanded this landscape, introducing Italian Arte Povera – a movement that challenged conventional notions of artistic materials – and conceptual art, pushing the boundaries of artistic expression. The museum’s commitment to showcasing both historical and contemporary works ensures a constantly evolving experience for visitors, fostering a deeper understanding of the interconnectedness of artistic traditions.
What truly distinguishes the Bonnefanten Museum is its deliberate strategy of fostering dialogue between past and present. It’s not simply about displaying art from different periods side-by-side; it’s about creating an environment where these works can inform and challenge one another. This approach encourages visitors to consider the evolution of artistic ideas, the enduring themes that connect generations of artists, and the ways in which contemporary practices build upon—or react against—historical precedents. The museum's curators actively curate exhibitions designed to highlight these connections, creating a rich tapestry of artistic influences and interpretations.
Notable Exhibitions:
Exile on Main Street:
(2009) – A retrospective celebrating American Minimalism, showcasing the precision and stark beauty of artists like Sol LeWitt and Robert Ryman.
Truly Wicked: The Seven Deadly Sins Visualized
(2024-2025) - An exhibition exploring the visual representation of sin through a diverse range of artistic styles and mediums.
The Bonnefanten Museum is more than just a museum; it’s an integral part of the Maastricht community. Regular temporary exhibitions, educational programs, and public events draw visitors from across the region and beyond. The museum's commitment to accessibility—including its “Bonnefanten Free Fridays” initiative—ensures that art remains within reach for all. Furthermore, the museum actively collaborates with local institutions and organizations, fostering a vibrant cultural ecosystem. Its location in the heart of Maastricht’s Céramique district provides easy access to restaurants, shops, and other attractions, making it a destination worthy of exploration.
For more information and upcoming events, please visit:
www.bonnefanten.nl
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Look closely
Intermezzo — William Henry Singer
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Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.
The recorded values for "Intermezzo" by William Henry Singer are: brilliant brightness, bright balance luminance.
Artworks similar to "Intermezzo" by William Henry Singer are gathered on the artwork's Similars page.
William Henry Singer made "Intermezzo" in 1917.