In Bédouine à la Kassâa, Yahia turns toward portraiture, but his figures remain archetypal rather than psychological. The faces, barely modelled and illuminated by a soft, uncertain light, offer only the minimal clues necessary for recognition. Expression yields to structure, and through this restraint, another form of expressivity emerges. The Bédouine in mélia becomes a symbol of her condition, her identity constructed through a web of visual correspondences: the silver jewellery, red scarf, and facial tattoos form a rhythmic plastic harmony. These signs do not merely refer outward to ethnographic types. The portrayed woman is turned into a pictorial entity as much as a social one. In Repas dans l’herbe, the frame opens onto the communal and celebratory. Here, Turki captures one of those ritual or cyclical moments that punctuate Tunisian life. These scenes of “atmosphere” reveal not the routine of daily existence but its luminous intensities, the collective joy and ritual continuity that bind community and landscape. The coloristic exuberance and tactile brushwork that animate his views here expand into a chromatic choreography of figures and nature.