Two Sisters

Paul Burty Haviland: A Pioneer of Early Modern Photography and a Cultivator of Artistic Circles

Paul Burty Haviland (1886-1971) stands as a quietly significant figure in the early 20th century’s burgeoning art world, a man whose influence extended far beyond his own photographic output. Born into a remarkably privileged background – the son of Charles Edward and Madeleine Burty Haviland, both members of the wealthy porcelain dynasty of Limoges, and inheriting artistic connections through his mother's lineage to art critic Philippe Burty – he navigated a path uniquely shaped by family legacy and an unwavering dedication to fostering a vibrant community of artists. His life was not one of grand pronouncements or revolutionary techniques, but rather a subtle yet profound engagement with the currents of modernism, largely facilitated by his close association with Alfred Stieglitz and the Photo-Secession movement. Haviland’s early years were steeped in art and culture. He received an undergraduate degree from the University of Paris and pursued further studies at Harvard, experiences that broadened his intellectual horizons before he returned to New York City in 1901. Initially employed by his father's china firm – a role undertaken more out of familial obligation than personal passion – Haviland quickly found himself drawn to the burgeoning photographic scene. His encounter with Stieglitz and the Photo-Secession at the little galleries in 1908 proved transformative, marking a shift from commercial obligations towards a genuine commitment to artistic exploration. The gallery became his sanctuary, a “unique oasis of cultivation” where he could immerse himself in discussions about art and culture alongside some of the most influential figures of the era. His generosity – notably, securing a crucial three-year lease for Stieglitz’s gallery across the hall – cemented a decade-long partnership built on mutual respect and shared artistic vision.

Photography as a Pursuit: Early Works and Contributions to Camera Work

Haviland's photographic work during this period, though often understated in its technical brilliance, possessed a remarkable sensitivity to light, composition, and subject matter. He wasn’t striving for grand pronouncements of style; instead, he captured intimate portraits – exemplified by the evocative “Portrait of a Man” – and candid scenes that offered glimpses into the lives of his contemporaries. His early photographs, published in Camera Work magazine starting in 1909, showcased a keen eye for detail and an ability to convey emotion through subtle gestures and expressions. He quickly ascended within the publication’s hierarchy, becoming an associate editor and serving as secretary, diligently organizing exhibitions of French artists and contributing significantly to the journal's mission of promoting modern art. The 1912 award at the John Wanamaker Exhibition further validated his growing recognition within the photographic community.

The Influence of Stieglitz and the Photo-Secession

Haviland’s relationship with Alfred Stieglitz was pivotal to his artistic development and broader influence. Stieglitz recognized Haviland's astute eye for art and his ability to connect artists and patrons, fostering a vibrant exchange within the Photo-Secession circle. Their discussions extended beyond photography, encompassing philosophical ideas about modernism, aesthetics, and the role of the artist. Haviland’s involvement in the creation of 291 gallery alongside Stieglitz and Marius de Zayas demonstrated his commitment to challenging established artistic conventions and providing a platform for innovative voices. This collaborative effort resulted in “A Study of the Modern Evolution of Plastic Expression,” a pioneering essay that explored the emerging trends in modern art, solidifying Haviland’s position as a critical thinker within the movement.

Beyond Photography: Family Legacy and Later Life

Despite his deep engagement with the artistic community, Haviland remained connected to his family's legacy. Following his father’s death in 1922, he dedicated himself to managing the Haviland porcelain estate in Limoges, a responsibility that ultimately led him to purchase a priory and transform it into a vineyard in Yzeures-sur-Creuse. This shift marked a departure from the urban art scene of New York and Paris, but it didn’t diminish his passion for art or his connections with influential figures. He continued to correspond with Stieglitz and remained involved in supporting the arts through his family's business. Notably, he was recognized by the French government as “Righteous Among the Nations” for his efforts to rescue Jewish families during World War II, a testament to his humanity and compassion. Paul Burty Haviland’s life exemplifies a quiet dedication to fostering artistic community and contributing to the evolution of modern art, leaving behind a legacy that deserves greater recognition.

Key Works

• “Portrait of a Man”
• “Two Sisters”