Indeed, Loas (Voodoo spirits), priests and vévés are the most recurring religious elements, with the musicians of Rara (Voodoo music), to which are added the other more important subjects: scenes of life, fantastic flourishes, plant elements or political references.
At the beginning of 1970s, a new marginal artistic movement, called Saint Soleil, appears to Soisson-la-Montagne, eastern Port-au-Prince. On the initiative of the painters Jean-Claude Garoute (Tiga) and Maud Robart, this current gathers a whole community of self-taught rural artists together, whose will of demarcation of the Naive School - which seems sunk in a commercial perspective - and of creation brings them towards a unique imaginary art, profoundly anchored in the Voodoo. Great artists come to light as Paul Dieuseul or Prospers Pierre Louis, whose works hint at supernatural religious, with spirits' faces often surrounded with animals and with symbols of offerings, on extremely rich and colored motifs.
This peculiarity instigates particularly the curiosity of André Malraux who, back from Haiti, dedicates a whole laudatory chapter on the Haitian Art in his book L'Intemporel in 1976. According to him "the painters of Saint Soleil speak about the same unknown language […] Each picture was manifestly aleatory […] not much tachism. An intense chromaticism, sometimes earthy as at the Voodoo painters, Hyppolite and Saint Brice.".
