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German heritage. His poetic insight and sense of purpose
were signifi cant in examining the rise of American
Modernism and in helping transport photography to the
realm of Fine Art.
Katherine Hoffman
Biography
Carl Sadakichi Hartmann was born in 1867 in Japan
to a Japanese woman, Osada, and Carl Herman Oscar
Hartmann, a German government and business offi cial.
Since his mother died a few months later, the young
Hartmann was sent to Hamburg, Germany, with his
brother Tanu, to be raised by his paternal grandmother
and uncle. He came to the United States in 1882. In
1884 he met Walt Whitman, and in 1898 he met Alfred
Stieglitz, two major infl uences on his life and work.
Writing also under the name of Sydney Allen, begin-
ning in 1902, Hartmann was prolifi c as a critic, poet,
and dramatist. Many of his signfi ciant pieces appeared
in Stieglitz’s Camera Notes and Camera Work. In 1902
his well known two volume, A History of American Art
was published. In 1923 Hartmann moved to Los Angeles
and attempted to become part of the Hollywood crowd.
In 1938-1939 he built himself a small place near his
daughter, Wistaria, in the California desert. He died on
November 21, 1944, on a visit to his eldest daughter,
Atma, in St. Petersburg, Florida.
See also: Stieglitz, Alfred; Steichen, Edward J.;
White, Clarence Hudson; Käsebier, Gertrude; and
Day, Fred Holland.
Further Reading
Hartmann, Sadakichi, Christ: A Dramatic Poem in Three Acts
(Boston, 1893); republished in Buddha, Confucius, Christ:
Three Prophetic Plays, edited by Harry Lawton and George
Knox. New York: Herder & Herder, 1971.
Hartmann, Sadakichi, Conversations with Walt Whitman. New
York: E.P. Coby, 1895.
Hartmann, Sadakichi, Shakespeare in Art. Boston: L.C. Page,
1901; London: Jarrold, 1901.
Hartmann, Sadakichi, A History of American Art, 2 vol. Boston:
L.C. Page, 1902; London: Hutchinson, 1903; rev. ed., Boston:
L.C. Page, 1932.
Hartmann, Sadakichi, Japanese Art (Boston: L.C. Page, 1904);
republished as The Illustrated Guidebook of Japanese Paint-
ing. Albuquerque: American Classical College Press, 1978.
Hartmann, Sadakichi, As Sidney Allan, Composition in Portrai-
ture. New York: E.L. Wilson, 1909.
Hartmann, Sadakichi, Landscape and Figure Composition. New
York: Baker & Taylor, 1910.
Hartmann, Sadakichi, The Whistler Book: A Monograph of the
Life and Position in Art of James McNeill Whistler. Together
with a Careful Study of His More Important Works. Boston:
L.C. Page, 1910.
Hartmann, Sadakichi. White Chrysanthemums: Literary Frag-
ments and Pronouncements, edited by Knox and Lawton.
New York: Herder & Herder, 1971.
Hartmann, Sadakichi, The Valiant Knights of Daguerre: Selected
Critical Essays on Photography and Profi les of Photographic
Pioneers, edited by Lawton and Knox, in collaboration with
Wistaria Hartmann Linton. Berkeley: University of California
Press, 1978.
Weaver, Jane Calhoun, ed. Sadakichi Hartmann—Critical Mod-
ernist. Berkeley: University of California Press, 1991.HAUTMANN, ANTON (1821–1862)
Painter, sculpter, photographer, and studio owner
Anton Hautmann was born into a Bavarian dynasty of
sculptors and painters and trained in Munich before
travelling to Italy to complete his education as a sculp-
tor. He settled in Florence in 1849 and established a
modest reputation as a sculptor of classical subjects and
portrait busts. A decade later, in 1858 or shortly before,
he opened a photographic studio specialising in portraits
and stereographic views. Hautmann’s photographic ca-
reer was brief, for he died four years later. In the short
period that he practised photography Hautmann made
more than a hundred stereographic views of Florence
and its environs. These portray the city as it appeared in
the last months of the Grand Duchy and in the months
following the plebiscite of 1861. Most of Hautmann’s
photographs focus upon subjects identifi ed by Baedeker
and by John Murray in his Handbook for Travellers
in Northern Italy as “most worthy of the traveller’s
attention.” Many of Hautmann’s photographs teem
with activity, recording the bustling, untidy character
of daily life in Florence ca 1860; this distinguishes
them from the formal, large-format plates produced
contemporaneously by the Fratelli Alinari and other
major commercial fi rms.
Graham SmithHAWAII
Shipping routes in the north Pacifi c were established in
the 19th century by whaling ships, imperial interests,
and the development of trade. Photography followed
these oceanic paths to port towns in the Hawaiian
Islands. The fi rst successful daguerreotype portraits
were made by an itinerant daguerreian from Peru in
the winter of 1846–1847. Fernando LeBleu (known
in Hawaii as Senor Lebleu), a laundryman and some
time daguerreotypist from Lima, arrived in Honolulu
in December 1846. He charged residents, eager to have
their portraits made, twice as much as the going rate in
Lima. Local newspapers reported that LeBleu was the
cause of a “daguerreotype mania” that swept through
the community.
The Hawaiian Islands (annexed by United States in
1898) are 2500 miles west of California. In 1849, gold
brought the frontier of the United States to California