The apparition of this new art arouses the admiration of many personalities, like Aimé Césaire, Jean-Paul Sartre and André Breton.
In 1951, the wall decoration of the episcopal cathedral of the Holy Trinity of the capital, entrusted to many popular painters, such as Rigaud Benoît, Philomé Obin, or Préfete Duffaut, propels the Haitian art in its highlight. From then on, tourists stream and rush on the naive painters' paintings, who exhibit in the greatest galleries of New York or Paris.
Of the Naive School ensues an artistic delta of the following generations, where the Cap Haïtien School founded by Obin or the School of Jacmel created by Duffaut, develop new artistic techniques. For example, this last one's work is focused on the gravity by mixing uniformly sky and earth. We also notice the ascendancy of animal and plant subjects. Other painters as Bernard Sejourné and Jean René Jerome, then Philippe Dodart and Emilcar Similien refer to another school: the School of Beauty, with which the aestheticism aims at honoring the grace and the elegance of the woman under a surrealist prism.
At the same time, Dewitt Peters is subjected by the iron crosses forged realized by the smith Georges Liautaud, to whom he suggests to turn to the sculpture. Thus, he keeps the tradition of the so-called “Steel Oil Drum Sculptures" (“Bosmétal") alive, which is characterized by ornamental elements on wrought iron, or materials of recovery, tins of fuel oil, etc., still inspirited by Voodoo.
