Florence Peterson by Haviland

Paul Haviland :: Florence Peterson nourrissant le poisson rouge, New York, 1909-1910. Autochrome. Musée d'Orsay — **Paul Haviland ::** Florence Peterson nourrissant le poisson rouge, New York, 1909-1910. Autochrome. Musée d’Orsay

Paul Haviland :: Florence Peterson, assise, de face, 1909-1910. Autochrome. Musée d'Orsay — **Paul Haviland ::** Florence Peterson, assise, de face, 1909-1910. Autochrome. Musée d’Orsay

Paul Haviland :: Florence Peterson assise, de profil, 1909-1910. Autochrome. Musée d'Orsay — **Paul Haviland ::** Florence Peterson assise, de profil, 1909-1910. Autochrome. Musée d’Orsay

Paul Haviland :: Florence Peterson debout, de face, 1909-1910. Autochrome. Musée d'Orsay — **Paul Haviland ::** Florence Peterson debout (?), de face, 1909-1910. Autochrome. Musée d’Orsay

Eating an apple (a sequence)

Paul Haviland (1880 - 1950) :: Jeune femme assise, mangeant une pomme, 1898-1916. Autochrome. Musée d'Orsay — **Paul Haviland** (1880 – 1950) :: Jeune femme assise, mangeant une pomme, 1898-1916. Autochrome. Musée d’Orsay

Paul Haviland (1880 - 1950) :: Jeune femme assise sur un muret, tenant une pomme, 1898-1916. Autochrome. Musée d'Orsay — **Paul Haviland** (1880 – 1950) :: Jeune femme assise sur un muret, tenant une pomme, 1898-1916. Autochrome. Musée d’Orsay

Paul Haviland (1880 - 1950) :: Jeune femme debout, tenant une pomme, 1898-1916. Autochrome. Musée d'Orsay — **Paul Haviland** (1880 – 1950) :: Jeune femme debout, tenant une pomme, 1898-1916. Autochrome. Musée d’Orsay

Nu de dos by Paul Haviland

Paul Haviland (1880-1950) :: Femme nue de dos, 1898-1916. Autochrome. Musée d'Orsay — **Paul Haviland** (1880-1950) :: Femme nue de dos, 1898-1916. Autochrome. Musée d’Orsay

The Spanish Shawl, 1912

Paul Burty Haviland :: The Spanish Shawl. Published in Camera Work nº 39, 1912. | src Brown University — **Paul Burty Haviland ::** The Spanish Shawl. Published in Camera Work nº 39, 1912. | src Brown University

Paul B. Haviland :: The Spanish Shawl. Published in Camera Work: A Photographic Quarterly, Heft 39, 1912 — **Paul B. Haviland ::** The Spanish Shawl. Published in Camera Work: A Photographic Quarterly, Heft 39, 1912

The Japanese Lantern, 1912

Featured

**Paul B. Haviland ::** The Japanese Lantern. Published in Camera Work: A Photographic Quarterly, nº 39, 1912. | Brown University

Paul B. Haviland :: The Japanese Lantern. Published in Camera Work: A Photographic Quarterly, Heft 39, 1912 — **Paul B. Haviland ::** The Japanese Lantern. Published in Camera Work: A Photographic Quarterly, Heft 39, 1912

Passing Steamer, 1912

**Paul Burty Haviland ::** Passing Steamer. Published in Camera Work nº 39, 1912. | src Brown University

Paul B. Haviland :: Passing Steamer. Published in Camera Work, Heft 39, 1912 — **Paul B. Haviland ::** Passing Steamer. Published in Camera Work: A Photographic Quearterly, Heft 39, 1912.

Miss Doris Keane, 1912

Featured

Paul B. Haviland :: Miss Doris Keane. Published in Camera Work: A Photographic Quarterly, Heft 39, 1912

Paul Burty Haviland :: Miss Doris Keane. Published in Camera Work nº 39, 1912. | src Brown University — **Paul Burty Haviland ::** Miss Doris Keane. Published in Camera Work nº 39, 1912. | src Brown University

Seated Nude, ca. 1908-1916

paul burty haviland seated nude 1908-1916

With its diffuse lighting and soft tones, Paul Haviland’s Seated Nude demonstrates his stylistic allegiance to the Photo-Secession group of American photographers.
Haviland was a French émigré and heir to a successful porcelain manufacturing firm, but after meeting Alfred Stieglitz in 1908, he devoted the next decade to establishing the legitimacy of photography as a form of high art. He published both photographs and essays in Camera Work, the preeminent American journal of avant-garde art, and helped found its successor, 291. This image is similar to photos of female nudes published by Haviland’s colleagues, with the model assuming an unusual and contorted pose in a hazy, empty interior space, her face turned away or concealed in shadow.

Quoted from Changing Poses: The Artists’ Model