between themselves and the new, lower class painters of Haiti. Their painting, personal, modern, and eminently Haitian, has often been, to date, an example of a happy fusion of Haiti's two cultural streams." In the 1950s and 1960s, Turnier painted abstract market scenes and other works depicting common people and the complexities of gender, class, and colorism in Haiti. Turnier expressed a preference for painting people when in Haiti and landscapes when in France. In 1967, influenced by her second husband, Christian Lemesle, Turnier began experimenting with collages. Turnier later described the period between 1965 and 1972, when she was married to Lemesle and living in Paris, as her "favorite period" of growth. She recalled this "special time" as one of heightened concentration when she created art for herself, with complete disregard for the aesthetic and commercial demands of the art world. Turnier described her works as becoming more abstract during this period. She saw texture as holding central importance in her work and talked of incorporating organic elements, like banana leaves, in the works she created later in life, after returning to Haiti. References External links Francie LaTour's Auntie Luce's Talking Paintings (children's book) 1924 births 1994 deaths Haitian artists Modern artists Haitian women painters Art Students League of New York alumni People from Jacmel Haitian expatriates in the United States Haitian expatriates in France