In New York between 1899 and 1915, Paul Burty-Haviland became a major member of the pictorialist Photo - Secession movement. Intimate friend of Alfred Stieglitz, he was his ally in the fight for the recognition of photography as an art in its own right.

In his quest for aesthetic perfection, Paul Burty-Haviland created exceptional silver prints, platinum prints and astonishing cyanotypes, which, typical of pictorialism, accentuate the mystery and beauty of the models.

Beyond his pioneering role in American pictorialist photography, Paul Burty-Haviland has contributed to the rooting of modern art in the United States, notably by supporting the Alfred Stieglitz Gallery 291 and personally collecting avant-garde works.

Young Paul Haviland as painted by August Renoir

Paul Burty-Haviland was born in Paris in 1880. He was the son of Madeleine Burty and the American Charles Haviland, who built an industrial empire of porcelain in Limoges.

By his grandfather Philippe Burty, famous critic and collector as well as by his father, Paul Haviland evolved in the world of art since his childhood. Renoir painted his portrait at the age of four, in 1884. He met the artist friends of his father, Félix Bracquemond, Albert Dammouse and Ernest Chaplet.

In 1905, Alfred Stieglitz Gallery 291 was opened in New York and Paul and his brother Frank regularly attended. It was not until January 1908 that he met Stieglitz during Rodin's first drawing exhibition in New York. Paul learned that the Gallery 291 was experiencing financial difficulties, so he rescued his new friend by becoming his patron. A very strong friendship was born between the two men. In January 1909, Paul signed his first article in "Camera Work" and in October he published his first photograph. In 1910 he became the editor of the magazine. "Camera Work" a publication created by Stieglitz, brought together the greatest pictorialist photographers. Paul Burty-Haviland was therefore an essential part of the Photo - Secession movement.

New York City at night by Paul Burty-Haviland

In 1907, Paul met Marius de Zayas whom he would befriend. They worked together to revitalize gallery 291. In 1913, they published an essay on modern art, on the occasion of the Armory Show, where Haviland would meet Francis Picabia. Haviland and Zayas traveled a lot together, especially in France and Mexico where he discovered the pre-Columbian art that he would collect.

Paul's involvement in this group and the influence of photography took him away from the smooth running of the business of the Haviland Co. His father, furious with his disinterest in the company, forced him to return to France to run the company.

Returning to France in July 1915, and consumed with family affairs, Paul Haviland is passionate about the Creuse river area. He rented a house-studio in Crozant and made many pictures. He met Paul Guillaumin, whom he photographed in front of his easel, as well as Suzanne, René Lalique's daughter, whom he married in 1917. His father-in-law gave him the reorganization of the Lalique glass factory. Now, Paul would have a significant creative role within the company. He introduces the glass-works to new themes, such as the introduction of pre-Columbian and Mexican art in the aesthetics of the famous company.

In 1929, the year of the stock market crash, Paul lost part of his fortune. He was therefore forced to sell a large part of his art collections. For financial reasons, he started commercial photography. He produced a catalog of his wife's paintings and a book listing all Lalique glassware. In 1935, Paul Burty-Haviland moved to a farm in Touraine, the eighteenth century Prieuré de la Mothe. In addition to the wine business he set up, he turned to his passion for astrology and graphology. Paul Burty-Haviland died in 1950 and is buried in the cemetery at Yzeures-sur-Creuse. His photo archive is housed in the Musée d’Orsay in Paris.

Much of Paul Burty-Haviland's work consists of portraits. Florence Peterson was one of his favorite models. The photographer left nothing to chance and would do tens of prints of the same subject for the sake of absolute perfection. He played with the contrasts between light and dark, and his images are very powerful, highlighting the enigmatic figures he captured. The light was also dimmed by half-closed blinds. The fuzzy effect often present in the photographs accentuate the mysterious side and the beauty of the models.

Japanese references are sometimes found in his pictures. They are the legacy of his grandfather, Philippe Burty, who introduced Japanese styling into the French decorative arts.