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I n those turbulent period after the first world war, while artistic innovation flourished, commentators found fascination with the mysteriously named avant-garde Tour Donas. “One finds an unusual allure in the creations of Tour Donas rarely seen among artists of his movement,” wrote one, “a sense of soft reserve that seems to reveal a woman’s touch.” These pieces, was in fact, by a woman, namely Marthe Donas, a Belgian using an androgynous pseudonym to succeed in the male-dominated art world.

As Tour Donas, Marthe had a meteoric rise, before falling into obscurity. Currently, the city of her birth is hosting a major exhibition to place her in the modernist pantheon, alongside Amedeo Modigliani as well as prominent figures. The exhibition, starting this weekend at the Royal Museum of Fine Arts (KMSKA), features 55 of her works, including cubist artworks using vibrant tones, shimmering impressions of textiles, to flatter abstract pieces.

“A sense of abstraction is paired with elegance,” the curator stated. “There is a genuine push for innovation, for innovation … yet there exists an immense desire, an appetite for traditional aesthetics.”

In contrast to the avant-garde extremists, the association eschewed rebellion, according to the art historian. One of the most prized works on display is the work The Dance, created by Donas over 1918 and 1919. This piece was considered lost, until discovered in Japan in preparation for this exhibition.

Formative Years and Obstacles

The artist entered life in 1885 to a well-to-do francophone household in the city. A forebear practiced realism, yet her parent was not keen on his daughter following this path; he removed her from art school in 1902 following just one month.

Later on, she returned to school, determined to be an artist, post-accident. She fell off a roof while attempting to see King Albert I, on a trip to the city, crashing downward as she descended. Her studies were halted by the 1914 invasion. As her relatives escaped across the border, Donas headed to Ireland, where she studied art and discovered stained glass. Following time in Paris, which was pivotal for her art, yet exhausted her funds, she went to the French Riviera as a drawing instructor to an affluent patron.

Creative Evolution and Partnership

She encountered Archipenko in Nice in 1917. An instant connection formed. He called her “the finest learner” and advocated for her art. Donas created her shaped paintings, pieces that rejected traditional rectangles for uniquely shaped pictures emphasizing their cubist distortions.

Although contemporary shaped art are frequently credited to the Hungarian artist, curators argue she pioneered among her peers to develop this distinct style.

However, her input remained unrecognized. Then, cubist and abstract works were dominated by men; too intellectual, too logical, for female artists.

Recognition and Legacy

More than a century later, she is finally being acknowledged. The institution, recently renovated, aims to highlight women creators in its displays. Before the revamp, only one piece was owned of Donas’s works, infrequently shown.

The exhibition reflects a growing movement to rediscover forgotten female talents, like earlier innovators. Similar shows have retrieved from obscurity the works of additional female artists spanning multiple eras.

A specialist devoted twenty years advocating for Donas, who he admires for “the elegance, the palette, the innovation and the beauty” of her creations. A co-curator involved in the project criticises the condescension by her peers. Contrary to belief, she wasn’t “a young pupil” when she met Archipenko, rather a mature creator with her own voice.

Later Years and Lasting Influence

The partnership between Donas and Archipenko had ended by mid-1921. She wed and relocated to rural Belgium; he moved overseas. Then Donas dropped off public view for a long period starting in the 1920s, following motherhood aged 45. Years afterward, she minimized his influence, saying it was merely “a short time in his workshop”.

This presentation uncovers a far deeper innovative drive. It ends with two artworks: one by Donas seemingly influenced by a piece by Archipenko she retained post-separation. The bright hues and lines from each artwork complement each other, but experts note “she does something of her own, she didn’t imitate”.

• This collection Enchanting Modernism is hosted in Antwerp closing in January 2026.