Question: Propsper Pierre-Louis had paintings that depicted the spirits of what Haitian Vodou?

full_context: Document 1: Haitian Vodou: Haitian Vodou ( , ] , also written as Vaudou ; known commonly as Voodoo , sometimes as Vodun , Vodoun , Vodu , or Vaudoux ) is a syncretic religion practiced chiefly in Haiti and the Haitian diaspora. Practitioners are called "vodouists" (French: "vodouisants" ] ) or "servants of the spirits" (Haitian Creole: "sèvitè").
Document 2: National Confederation of Haitian Vodou: The National Confederation of Haitian Vodou ("Konfederasyon Nasyonal Vodou Ayisyen" ) is a Haitian civil organization which seeks to defend the practice of Haitian Vodou from defamation and persecution. It was headed by Max Beauvoir, until his death in 2015, who served as "chef Supreme" or "Ati Nasyonal" of the organization.
Document 3: Prosper Pierre-Louis: Prosper Pierre-Louis (1947–1997), was a Haitian artist, painter; and one of the main contributors to the local school of the Saint Soleil art movement. His paintings depicting mystical Vodou Loas and spirits are especially noteworthy.
Document 4: Loa: Loa (also spelled "lwa") are the spirits of Haitian Vodou and Louisiana Voodoo. They are also referred to as "mystères" and "the invisibles" and are intermediaries between Bondye (French: "Bon Dieu", meaning "good God")—the Supreme Creator, who is distant from the world—and humanity. Unlike saints or angels, however, they are not simply prayed to, they are served. They are each distinct beings with their own personal likes and dislikes, distinct sacred rhythms, songs, dances, ritual symbols, and special modes of service. Contrary to popular belief, the loa are not deities in and of themselves; they are intermediaries for, and dependent on, a distant Bondye.
Document 5: Haitian Vodou art: Haitian Vodou art is art related to the Haitian Vodou religion. This religion has its roots in West African traditional religions brought to Haiti by slaves, but has assimilated elements from Europe and the Americas and continues to evolve. The most distinctive Vodou art form is the "drapo Vodou", an embroidered flag often decorated with sequins or beads, but the term covers a wide range of visual art forms including paintings, embroidered clothing, clay or wooden figures, musical instruments and assemblages. Since the 1950s there has been growing demand for Vodou art by tourists and collectors.
Document 6: Supernatural beings in Slavic religion: Other than the many gods and goddesses of the Slavs, the ancient Slavs and the Rodnover descendants of today believed in and revered many supernatural beings that existed in nature. These supernatural beings in Slavic religion come in various forms, and the same name of any single being can be spelled or transliterated differently according to language and transliteration system.
Document 7: Murat Brierre: Murat Brierre or Murat Briere (1938–1988) was one of Haiti's principal metal sculptors. He was influenced by George Liautaud, but his work acquired its own, highly experimental style, often focusing on multi-faceted and conjoined figures, fantastically personified elements, and unborn babies visible within larger creatures. He sculpted works that reflected both Christian and Haitian Vodou themes. His works have been displayed in the United States, Mexico, Jamaica, and in Haiti's National Pantheon. Brierre was born in Port-au-Prince.
Document 8: Petro loa: Petro (Haitian Creole: "Petwo" ), sometimes as "Pethro", is a family of loa (spirits) in Haitian Vodou religion. The story is that they originated in Haiti, under the harsh conditions of slavery. The term "petro" can also refer to a drum used in the music of Haiti. "Petro" loas are often considered to be "angry" or demon loa, used in "black magic". They are the "newer" loa that can relate to the harsh, unimaginable conditions that slaves had to endure.
Document 9: Lagbaja: According to Lágbájá (pronounced la gba jah), his mask is used as an icon of man's facelessness. Lágbájá is a Yoruba word that means "nobody in particular". It depicts the anonymity of the so-called "common man". The mask and the name symbolize the faceless, the voiceless in the society, particularly in Africa. He is also known as "Omo baba mu'ko mu'ko".
Document 10: Haitian Vodou drumming: Vodou drumming and ceremonies are inextricably linked in Haiti. While drumming does exist in other contexts in the country, by far the richest traditions come from this distinctly Haitian religion. As such, before one can come to play, appreciate, and understand this music one should view it in its religious context. Haitian Vodou is a henotheistic religion, although viewed by many Haitians as a cultural practice, widely practiced in the country of Haiti. Vodou as practiced in urban centres in Haiti and some cities in North America (especially New Orleans) is a ritualistic faith system that involves ceremonies that consist of singing, drumming and dancing. While certain aspects of this religion may share the same roots, it is completely contrary to the stereotype of black magic, witch doctors, pins in dolls, and zombies portrayed by New Orleans style "Voodoo" (a bastardization of the name).
Document 11: Haitian hip hop: Haitian hip hop or rap kreyòl, is music originating from Haiti and sung by artists of Haitian origin. Often, hardcore beats are used while the artist raps in Haitian Creole. Rap kreyòl has been part of Haitian culture since the early 1980s with groups such as Original Rap Staff, King Posee, Rap Kreyòl S.A., Masters of Haiti, Fighters, Blackdo, Fam-Squad, Supa Deno, Prince Berlin and Muzion attaining prominence, but lately has become very popular with Haitian youth. Another notable group from the 1990s is Black Leaders. The impact of Black Leaders and its members is lasting. Though known primarily for his role in Black Leaders, Don Roy is still an active contributor to Haitian music across many genres. Since the peak of his notoriety, Don Roy has chosen to create in other genres. While still working in a production capacity in genres such as Rap Kreyòl and Reggae, Don Roy has chosen to create and work with prominent artists of the modern roots/Rasin movement.
Document 12: Haitian mythology: Haitian Vodou is a syncretic mixture of Roman Catholic rituals developed during the French colonial period, based on traditional African beliefs, with roots in Dahomey, Yoruba, and Kongo traditions, and folkloric influence from the indigenous Taino peoples of Haiti. The Loa, or spirits with whom Vodouisants work and practice, are not gods but servants of the Supreme Creator Bondye (pronounced Bon Dieu). In keeping with the French-Catholic influence of the faith, vodousaints are for the most part monotheists, believing that the Loa are great and powerful forces in the world with whom humans interact and vice versa, resulting in a symbiotic relationship intended to bring both humans and the Loa back to Bondye. "Vodou is a religious practice, a faith that points toward an intimate knowledge of God, and offers its practitioners a means to come into communion with the Divine, through an ever evolving paradigm of dance, song and prayers."
Document 13: Louisiana Creole people: Louisiana Creole people (French: "Créoles de Louisiane" ), are persons descended from the inhabitants of colonial Louisiana during the period of both French and Spanish rule. The term "creole" was originally used by French settlers to distinguish persons born in Louisiana from those born in the mother country or elsewhere. As in many other colonial societies around the world, "creole" was a term used to mean those who were "native-born". It also came to be applied to African-descended slaves and Native Americans who were born in Louisiana. Louisiana Creoles share cultural ties, such as the traditional use of the French language and predominantly practice Catholicism.
Document 14: God in Mormonism: In orthodox Mormonism, the term God generally refers to the biblical God the Father, whom Mormons sometimes call Elohim, and the term Godhead refers to a council of three distinct divine persons consisting of God the Father, Jesus (his firstborn Son, whom Mormons sometimes call "Jehovah"), and the Holy Ghost (Holy Spirit). Mormons believe that the Father, Son, and the Holy Ghost are three distinct beings, and that the Father and Jesus have perfected, glorified, physical bodies, while the Holy Ghost is a spirit without a physical body. Mormons also believe that there are other gods and goddesses outside of the Godhead, such as a Heavenly Mother who is the wife of God the Father, and that faithful Mormons may attain godhood in the afterlife.
Document 15: Jinn: Gen (Arabic: الجن‎ ‎ , "al-jinn "), also romanized as djinn or anglicized as genies (with the more broad meaning of spirits), are supernatural creatures in early Arabian and later Islamic mythology and theology. An individual member of the jinn is known as a jinni, djinni, or genie (الجني , "al-jinnī "). They are mentioned frequently in the Quran (the 72nd sura is titled "Sūrat al-Jinn") and other Islamic texts. The Quran says that the "jinn" were created from "mārijin min nar" ("smokeless fire" or "a mixture of fire"; scholars explained, this is the part of the flame, which mixed with "the blackness of fire"). They are not purely spiritual, but are also physical in nature, being able to interact in a tactile manner with people and objects and likewise be acted upon. The "jinn", humans, and angels make up the known sapient creations of God. Like human beings, the "jinn" can be good, evil, or neutrally benevolent and hence have free will like humans. The shaytan-jinn are called "devils" or "demons" and akin to demons in Christian tradition, including different types of evil invisible creatures, who are classified into the following two groups:
ground_truth: Loa