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Seven women stand in a solemn gathering within a deep blue interior that feels at once architectural and sacred. At the center, a Black woman with medium-brown skin faces outward in a long white gown whose broad sleeves open like wings. She wears a tall white headwrap, gold earrings, and layered necklaces, while her expression is calm, direct, and authoritative. Around her are six other women, also dressed in flowing white dresses and white headwraps, are arranged in a balanced semicircle. Two women in the foreground hold green palm fronds. One holds a beaded ritual rattle. Their bodies are upright and still, their faces attentive, as if listening or preparing for a shared invocation. Small candles burn near their feet, and pale vevè ritual markings are drawn across the dark floor. The glowing whites of the garments and headwraps stand out against the indigo background, giving the whole scene a hushed, luminous gravity.

Haitian artist Pierre Augustin’s painting presents Haitian Vodou not as exotic or mysterious in a sensationalized sense. Instead, he gives the ceremony discipline, dignity, and female spiritual authority. The central figure reads as a mambo, or priestess, leading a group of women through a sacred rite. The white garments suggest ritual purity, initiation, and collective devotion, while the chalked symbols and candles mark the space as one of invitation, protection, and presence. The ceremony is linked to the calling of Ezili, a lwa spirit associated with femininity, beauty, love, power, and emotional depth. That association deepens the painting’s meaning: this is not simply a gathering of women, but a vision of women as guardians of spiritual continuity.

Augustin, born in Haiti in 1945, became known for highly ordered, symbolic images rooted in Haitian life and belief. Here, in 1979, he offers not performance for an outside viewer, but a threshold of reverence. The women seem gathered in mutual witnessing, sacred labor, and calm command.

Seven women stand in a solemn gathering within a deep blue interior that feels at once architectural and sacred. At the center, a Black woman with medium-brown skin faces outward in a long white gown whose broad sleeves open like wings. She wears a tall white headwrap, gold earrings, and layered necklaces, while her expression is calm, direct, and authoritative. Around her are six other women, also dressed in flowing white dresses and white headwraps, are arranged in a balanced semicircle. Two women in the foreground hold green palm fronds. One holds a beaded ritual rattle. Their bodies are upright and still, their faces attentive, as if listening or preparing for a shared invocation. Small candles burn near their feet, and pale vevè ritual markings are drawn across the dark floor. The glowing whites of the garments and headwraps stand out against the indigo background, giving the whole scene a hushed, luminous gravity. Haitian artist Pierre Augustin’s painting presents Haitian Vodou not as exotic or mysterious in a sensationalized sense. Instead, he gives the ceremony discipline, dignity, and female spiritual authority. The central figure reads as a mambo, or priestess, leading a group of women through a sacred rite. The white garments suggest ritual purity, initiation, and collective devotion, while the chalked symbols and candles mark the space as one of invitation, protection, and presence. The ceremony is linked to the calling of Ezili, a lwa spirit associated with femininity, beauty, love, power, and emotional depth. That association deepens the painting’s meaning: this is not simply a gathering of women, but a vision of women as guardians of spiritual continuity. Augustin, born in Haiti in 1945, became known for highly ordered, symbolic images rooted in Haitian life and belief. Here, in 1979, he offers not performance for an outside viewer, but a threshold of reverence. The women seem gathered in mutual witnessing, sacred labor, and calm command.

"Vodou Ceremony" by Pierre Augustin (Haitian) - Oil on canvas / 1979 - Waterloo Center for the Arts (Waterloo, Iowa) #WomenInArt #PierreAugustin #Augustin #WaterlooCenterForTheArts #HaitianArt #VodouArt #art #arte #arttext #blueskyart #oilpainting #CeremonialPainting #WomenInRitual #HaitianArtist

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Made in 1982 when artist Luce Turnier was in her late fifties and long past the expectation that Haitian art should perform “the picturesque,” this untitled portrait reads as a quiet insistence on everyday dignity. Turnier, a pioneering Haitian modernist associated with Port-au-Prince’s Centre d’Art and shaped by periods of study and work in New York and Paris, often returned to working and middle-class sitters with a modern, pared-down language rather than sensationalized spiritual tropes. 

It’s a vertical portrait of a Black adult woman seated in a light wooden armchair, angled slightly left but looking forward with a calm, resolute expression. Her skin is rendered in deep brown tones with soft modeling across the cheekbones and nose. A large, pale, circular headpiece like a structured headwrap fans out behind her head in concentric arcs, creating a halo-like silhouette. Beneath it, a colorful scarf with small flashes of red and blue peeks at the hairline. She wears a sleeveless white dress with wide straps.Tthe fabric gathers at the waist and falls in quiet folds across her lap. Her forearms rest together, hands loosely clasped, suggesting patience rather than pose. The chair’s rounded arms and spindled supports repeat the painting’s curving lines. Behind her, a flat terracotta-orange background keeps our focus on face, garment, and the luminous headpiece.

The sitter’s anonymity is likely not erasure so much as solidarity so she stands for many women whose labor and endurance are foundational and rarely archived. The monumental headwrap/hat becomes both protection and radiance of a practical architecture turned emblem while the restrained forms keep attention on presence like the set of her mouth, the steady gaze, or her hands at rest. By withholding a title, Turnier leaves space for us to meet this woman without a script, and to recognize portraiture itself as an ethical act of looking carefully, without possession.

Made in 1982 when artist Luce Turnier was in her late fifties and long past the expectation that Haitian art should perform “the picturesque,” this untitled portrait reads as a quiet insistence on everyday dignity. Turnier, a pioneering Haitian modernist associated with Port-au-Prince’s Centre d’Art and shaped by periods of study and work in New York and Paris, often returned to working and middle-class sitters with a modern, pared-down language rather than sensationalized spiritual tropes. It’s a vertical portrait of a Black adult woman seated in a light wooden armchair, angled slightly left but looking forward with a calm, resolute expression. Her skin is rendered in deep brown tones with soft modeling across the cheekbones and nose. A large, pale, circular headpiece like a structured headwrap fans out behind her head in concentric arcs, creating a halo-like silhouette. Beneath it, a colorful scarf with small flashes of red and blue peeks at the hairline. She wears a sleeveless white dress with wide straps.Tthe fabric gathers at the waist and falls in quiet folds across her lap. Her forearms rest together, hands loosely clasped, suggesting patience rather than pose. The chair’s rounded arms and spindled supports repeat the painting’s curving lines. Behind her, a flat terracotta-orange background keeps our focus on face, garment, and the luminous headpiece. The sitter’s anonymity is likely not erasure so much as solidarity so she stands for many women whose labor and endurance are foundational and rarely archived. The monumental headwrap/hat becomes both protection and radiance of a practical architecture turned emblem while the restrained forms keep attention on presence like the set of her mouth, the steady gaze, or her hands at rest. By withholding a title, Turnier leaves space for us to meet this woman without a script, and to recognize portraiture itself as an ethical act of looking carefully, without possession.

“Sans titre (Untitled)” by Luce Turnier (Haitian) - 1982 - Gardy St. Fleur Collection (Brooklyn, New York) #WomenInArt #WomensArt #WomanArtist #WomenArtists #LuceTurnier #Turnier #GardyStFleurCollection #art #artText #BlueskyArt #arte #PortraitofaWoman #HaitianArtist #HaitianArt #WomenPaintingWomen

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full issue at https://archive.org/details/colliersmagazine

full issue at https://archive.org/details/colliersmagazine

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Dorothy Adlow, “Church Art in Haiti”
‘Untrained artists in Haitiproduce notable murals by mixing folklore with faith in the bible’
Photographs for Collier’s by Byron Coroneos
*Collier’s*, November 22, 1952
#Haiti #HaitianArt #SacredArt #DorothyAdlow #PréfètDuFGaut #WildonBigaud

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#THISWEEK in 1952
‘Reminiscent of a Haitian farmer, St. Joseph pauses on “Flight to Egypt” in part of Toussaint Auguste’s mural in Episcopal Cathedral of Port-au-Prince’
Photograph by Byron Coroneos (b. 1909) for ➡️
#Haiti #HaitianArt #SacredArt #ToussaintAuguste #ByronCoroneos

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Went back to my #ArtHistory and #MaterialCulture roots to write a brief blog post on #HaitianArt for #HaitianHistoryMonth. Thanks, UF Latin American and Caribbean collection for the opportunity - lacc.uflib.ufl.edu/2025/05/16/h...

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Happy Haitian Heritage Month from The Haitian Project and Louverture Cleary School!
#HaitianHeritageMonth #Haiti #Haitianart #Haitianculture #louvertureclearyschool

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This may be the start of my Rose Period.

#fineart #artcollector #prattalumni #nycartist #haitianart #figurativeart #abstractart #blackartists #blackart #lgbt #modernart

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“Elegance in Bloom” — a radiant Haitian painting where woman and flower become one. 🌺
it’s a celebration of feminine power and cultural beauty.
🖼️ Take a closer look: traderbrock.etsy.com/listing/1888...
#HaitianArt #FloralFolkArt #CaribbeanCanvas #EleganceInBloom #ArtWithSoul #blackart #haiti #art

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Rhythmic Abstraction – Haitian Abstract Painting – Caribbean Modern Art – Colorful Cultural Canvas – Bold Handmade Wall Decor - Cultural Art

Rhythmic Abstraction – Haitian Abstract Painting – Caribbean Modern Art – Colorful Cultural Canvas – Bold Handmade Wall Decor - Cultural Art

Rhythmic Abstraction – Haitian Abstract Painting – Caribbean Modern Art – Colorful Cultural Canvas – Bold Handmade Wall Decor - Cultural Art

Rhythmic Abstraction – Haitian Abstract Painting – Caribbean Modern Art – Colorful Cultural Canvas – Bold Handmade Wall Decor - Cultural Art

Rhythmic Abstraction – Haitian Abstract Painting – Caribbean Modern Art – Colorful Cultural Canvas – Bold Handmade Wall Decor - Cultural Art

Rhythmic Abstraction – Haitian Abstract Painting – Caribbean Modern Art – Colorful Cultural Canvas – Bold Handmade Wall Decor - Cultural Art

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Experience the rhythm of Haiti through "Rhythmic Abstraction"—a dynamic acrylic painting intertwining traditional instruments with bold colors. Explore more: traderbrock.etsy.com/listing/1888... #HaitianArt #CulturalExpression #AbstractCanvas #TraderBrock #music #art #painting #Haiti #panama #piano

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Market Day Melody – Haitian Market Scene Painting – Colorful Caribbean Folk Art – Vibrant Wall Decor – Handmade Cultural Canvas village life

Market Day Melody – Haitian Market Scene Painting – Colorful Caribbean Folk Art – Vibrant Wall Decor – Handmade Cultural Canvas village life

"Market Day Melody" is a celebration of community and color!
This Haitian market scene brings the warmth and rhythm of local life to your walls.
Explore the painting and bring a piece of Haitian spirit home: traderbrock.etsy.com/listing/1888...
#HaitianArt #MarketScene #CanvasArt #CulturalArt #haiti

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Silent Dialogue – Haitian Figurative Painting – Emotional Caribbean Folk Art – Handmade Wall Decor – Cultural Canvas by Haitian Artist

Silent Dialogue – Haitian Figurative Painting – Emotional Caribbean Folk Art – Handmade Wall Decor – Cultural Canvas by Haitian Artist

"Silent Dialogue" is a story told in stillness.
This Haitian figurative painting evokes deep emotion through bold strokes and cultural richness.
Explore the artwork here: traderbrock.etsy.com/listing/1888...
#HaitianArt #SilentDialogue #FigurativePainting #CanvasArt #ArtCollectors #Painting

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Here are my takes on #Rembrandt #Velazquez #GovertFlinck . (I hope they don’t mind). And I think if they were around today they’d be the greatest social media influencers around. They knew how to market their art back then.
#oldmasters #abstractart #modernart #haitianart #blackart

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Untitled by Sherlie DePhonce (Haiti)
36 inches x 24 inches (without frame)
Acrylic on Canvas; circa 1990s
Collection of Patrick Jamieson

Untitled by Sherlie DePhonce (Haiti) 36 inches x 24 inches (without frame) Acrylic on Canvas; circa 1990s Collection of Patrick Jamieson

Untitled by Sherlie DePhonce (Haiti)
36 inches x 24 inches (without frame)
Acrylic on Canvas; circa 1990s

I just received this wonderful painting--here seen now hanging in my home--as a gift (!) from a fellow collector and good friend. I am one lucky guy!

#SherlieDePhonce #HaitianArt

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Haitian Metal Art from recycled 55-gallon oil drums! These artisans use hammers, chisels and various tools to create unique and treasured art. They earn a fair wage, engage in environmentally sustainable practices and have safe working conditions. 💛 #fairtrade #haitianart #supportfairtrade

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Join us for an evening of insight and inspiration at the Latin American Cultural Center (LACC) with award-winning author and scholar Dr. Myriam J. A. Chancy!

🎟 Reserve your spot today!
🔗 Get your ticket: loom.ly/WF5tNPg

#LACC #HaitianArt #PittsburghEvents

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🎨 Galerie Bonheur presents a collection of Haitian folk art!

Explore vibrant market scenes, Vodou symbolism & historical depictions by artists like Levoy Exil, Casimir & Obin. A celebration of Haiti’s cultural identity & resilience.

Image: Levoy Exil

galeriebonheur.com #HaitianArt #SelfTaughtArt

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The 30 inch x 40 inch oil on linen painting "Dambala Wedo, Erzulie Fréda Daromey et Maitre Ogou Fieraille" by the acclaimed Haitian artist André Pierre. Painted circa 1984.

The 30 inch x 40 inch oil on linen painting "Dambala Wedo, Erzulie Fréda Daromey et Maitre Ogou Fieraille" by the acclaimed Haitian artist André Pierre. Painted circa 1984.

This 40" x 30" painting--"Dambala Wedo, Erzulie Fréda Daromey et Maitre Ogou Fieraille"--by the acclaimed André Pierre has graced my walls for nearly 20 years. Now it's headed to a new home in Los Angeles. I've decided to head south for a few days and deliver it personally.

#HaitianArt #AndréPierre

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Préfète Duffaut's painting "Jacmel Ville" from 1984. The painting depicts a bustling port in the town of Jacmel, Haiti. Rows of buildings and rounded docks encircle a large mountain spire at the center, palm trees jutting up towards the sky. Dozens of people walk the bustling streets, and the ports are filled with sailboats.

Préfète Duffaut's painting "Jacmel Ville" from 1984. The painting depicts a bustling port in the town of Jacmel, Haiti. Rows of buildings and rounded docks encircle a large mountain spire at the center, palm trees jutting up towards the sky. Dozens of people walk the bustling streets, and the ports are filled with sailboats.

I want to talk about classical notions of what's considered "good" art, but first here's a painting I came across today. It's titled "Jacmel Ville", and it's painted by late Haitian art legend Préfète Duffaut. Buckle in; this one is gonna be a long one.
#PréfèteDuffaut #haitianart #haiti

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Fantastical Metamorphosis (1955)
By Gesner Abelard
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#art #painting #naïveart #haitianart #oilpainting

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Throwback to a colored pencil artwork I created that was inspired by one of my favorite Haitian paintings in my art collection. I can’t read the original artist’s signature, unfortunately.
#haitianart #haiti

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My latest painting ❤️

Title: Basket Lady

#acrylic ##caribbeanartist #caribbeanartwork #blackart #haitianart #caribbean #caribbeanart #caribbeanartwork #blackart #africanart #blackwork

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The painting "Crucifixion" by Haitian artist Seymour E Bottex, floats in a simple, thin wooden frame. Circa 1965 - 20 inches x 24 inches. Oil on Masonite. A Haitian Ra-Ra passes below a crucified Jesus, hanging on the cross. (Ra-Ra is a traditional Easter-time procession/celebration in Haiti.) The artist's bright pallet, and the joyous enthusiasm of the Ra-Ra participants, give a decidedly Haitian spin on what is usually depicted as a somber event.

The painting "Crucifixion" by Haitian artist Seymour E Bottex, floats in a simple, thin wooden frame. Circa 1965 - 20 inches x 24 inches. Oil on Masonite. A Haitian Ra-Ra passes below a crucified Jesus, hanging on the cross. (Ra-Ra is a traditional Easter-time procession/celebration in Haiti.) The artist's bright pallet, and the joyous enthusiasm of the Ra-Ra participants, give a decidedly Haitian spin on what is usually depicted as a somber event.

"Crucifixion" by Haitian artist Seymour E Bottex was one of 25 paintings from my collection that were exhibited in the show "Life in Bold Colors" at California's Sonoma State University in 2007. A Haitian Ra-Ra procession/celebration passes below Jesus on the cross.
#HaitianArt #SeymourEBotex #Ra-Ra

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This is the last peace from my paintings that exhibited in Paris, France during Art Basel Paris in October. The other two sold.
"4:29pm"
16x20 Acrylic on canvas
#blackartist #painter #blackart #artforsale #haitianart

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