Their most notable collaborations were the Église Notre-Dame du Raincy and Saint Joseph's church in Le Havre.

Huré contributed to the rebirth of sacred art in France in the early twentieth century through her introduction of abstraction into religious stained glass.

[3] The compact nave's architectural lines lead the eye to the altar and then up to a three-tiered, square base with triangular supporting structures.

[4] The repeated pattern reflects Huré's dedication to the symbolic power of color and her rejection of iconographic representation.

The bottom of the tower has the strongest harmonized hues that gradually lighten on the way to the top giving the impression that the light comes from above, through the lighter glass.

[8] Throughout her life, Huré continued to make figurative stained glass pieces, though her re-imagination of religious iconography through color symbolism and geometric abstraction was her largest contribution to art history.