After a difficult period due for the most part to political instability, economic stagnation, the rise of photography and the introduction of chromolithography and during which such artists as Louis Rigaud, Edouard Goldman, Lorvana Pierrot Lagojanis distinguished themselves against great odds, Haitian painting experienced a renewal in the 1930s. With Petion Savain, Georges Remponneau, Edouard Preston, and Antoine Derennoncourt as its core, the Ecole Indigeniste was formed which lead to the creation of the Cente dArt. Many artists were then discovered, among them Hector Hyppolite, Philome Obin, Castera Bazile, Rigaud Benoit, Prefete Duffaut, Jacques Enguerrand Gourgue, Wilson Bigaud, Louverture Poisson. Among the non-primitive artists who participated early at the Centre d'Art, it is worth noting the names of Luce Turnier, Lucien Price, Antonio Joseph, Max Pinchinat, Lucner Lazare, Elzire Malbranche, and Roland Dorcely.
In 1950, following a disagreement, many artists led by Lucien Price, Max Pinchinat and Dieudonne Cedor left the Centre d'Art to create the Foyer des Arts Plastiques. There emerged the Realisme de Cruaute so brilliantly illustrated by Cedor, Nehemy Jean, Denis Vergin, and Denis Emile.
From the Foyer des Arts Plastiques emerged the Galerie Brochette founded by Dorcely, Cedor, Lazare. Without breaking completely with l'Indigenisme and the Realisme de Cruaute, Haitian painting became more conscious of purely esthetic standards and took a more intellectual and modern orientation, in particular with Spencer Depas, Villard Denis (Davertige), Jacques Gabriel, and GÈrard Hyppolitte. Rose-Marie Desruisseaux got her initiation into painting at the Galerie Brochette.
At the Centre d'Art, Andre Pierre and other primitive artists had enhanced the reputation of Haitian art, while Gesner Armand joined the ranks of the sophisticated artists.
Founded in the early '60s, Calfou was the last great association of Haitian artists. With Bernard Wah, painting took a decisive turn towards l'Esthetique de la Beaute. This school which is more formal and less socially engaged, made a definitive break with l'Indigenisme. It found its more forceful expression in the works of Bernard Sejourne, Jean-Rene Jerome, Simil, Jean-Pierre Theard, Carol Theard, Jean-Claude Legagneur, and Philippe Dodard. At the margin of l'Ecole de la Beaute, one should mention such artists as Ronald Mews, Fravrange Valcin, Celestin Faustin, and Jean-Claude Garoute (known as Tiga).
Of a style that is totally different but that catches the attention immediately, the works of Sacha Thebaud, Frank Etienne, and Marilene Phipps are realized in an advanced modern style.
During the '60s, Saint-Soleil emerged in the hills of Laboule as a powerful renewal of the primitive school. Within that trend, Stivenson Magloire's work constitutes an incomparable statement of primitive art.
Today the vitality of Haitian art, both in Haiti and abroad is an astonishing reality. Today's promising artists are numerous, such as Lyonel St Eloi, Marithou Latortue Dupoux, Fritzodt Antoine, Pascal Moin, Joselus Joseph, Pascal Smarth, Engels, Odille Latortue, Albert Desmangles, Elie Lescot Jr., Essud Fungcap, Marilene Phipps, Patrick Wah and Jean Marcel Wah, Jr. And more than ever, its future is assured.
- Michel-Philippe Lerebours
* Translated by Max Blanchet, Berkeley, CA.