and she had several exhibits in Europe. She studied in both New York City and Paris as she struggled to develop a personal style that encompassed her Haitian heritage without capitulating to the tastes of the market and its preconceived notions about what "Haitian" art was or should look like. In New York City, Turnier studied at the Art Students League where she became steeped in modernist theory that "disdained spatial illusionism, insisting on maintaining the integrity of the picture plane as a flat surface" Personal life She married Eugenio Carpi de Resmini, an Italian painter, in 1954. The couple had two children. She remarried in 1965 to the French painter Christian Lemesle. After her return to Haiti in the 1970s, Turnier enjoyed increasing popularity at home and abroad. Turnier died in 1994 in Paris, France. Artistic style and critical reception In assessing a 1947 exhibit at the Le Centre d'Art, the Belgian artist and critic Paul-Henri Bourguignon highly regarded Turnier's work, grouped with the avancés, advanced or modern style works, though he preferred the populaires, the naive and primitive, works. Whether one's work fell into the category of avancés or populaires had much to do with one's level of art education and, ultimately, class affiliation. European and U.S. audiences of the 1940s and 1950s did not appreciate the sophisticated style of Turnier and other Haitian artists who produced work in the modern style. Art historian Gérald Alexis attributed the lack of enthusiasm for Haiti's modernist art in the United States to the McCarthyism that prevailed in the country from the late 1940s to mid-1950s. Like the works of Diego Rivera, modern works originating from the former colonies were labelled communist art. Gallery curators and art collectors, too, sought more "different" and exotic works, for example those emphasizing themes of Haitian folklore and voodou. Despite opposing the prevailing tastes and trends of the time, various museums and archives, the Musée d'Art Haïtien, have preserved many of the works of the Haitian moderns, including Turnier. Haitian writer Philippe Thoby-Marcelin described how Turnier, along with fellow artists Lucien Price and Luckner Lazare, left Le Centre d'Art because its founder, American watercolorist De Witt Peters, "unduly favor[ed] the popular painters." Despite this schism and the fact Turnier and many of her modernist cohorts left Haiti to study and live abroad, Efron perceived that the Haitian moderns still "succeed[ed] in effecting a rapprochement [sic]