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A Amid the unsettled period following the Great War, when artistic innovation blossomed, critics were captivated by the mysteriously named contemporary the name Tour Donas. “We observe an unusual allure in Donas’s art rarely seen among his contemporaries,” noted a critic, “a kind of gentle timidity suggesting delicate femininity.” His work, actually, her work, that is Marthe Donas, a Belgian who had taken a non-gendered alias to get on in the art scene dominated by men.

Under this pseudonym, she experienced a short yet brilliant period, before falling into obscurity. Currently, her hometown showcases an extensive show positioning her alongside modernist masters, alongside Piet Mondrian plus prominent figures. The exhibition, which opens on Saturday at the Royal Museum of Fine Arts (KMSKA), highlights 55 of her works, ranging from cubist compositions with rich hues, glimmering fabric motifs, plus minimalist forms.

Abstract expression is paired with refinement,” an expert stated. “There is a real drive for renewal, for change … alongside that is an immense desire, an appetite for timeless grace.”

Differing from provocative modernists, this artistic group were not radicals, stated by the art historian. One of the most prized works featured is The Dance, which Donas painted over 1918 and 1919. This piece was considered lost, until discovered in Japan in preparation for this exhibition.

Formative Years and Obstacles

The artist was born in 1885 into an affluent francophone household in the city. A forebear had been a realist painter, but Donas’s father was not keen on a career in art; he removed her from training in 1902 following just one month.

Ten years afterward, she resumed her education, committed to her craft, after a life-changing accident. She fell off a roof hoping to view the monarch, on a trip to the city, smashing through a glass ceiling on her way down. Her training were halted by the 1914 invasion. As her relatives escaped across the border, Donas headed to Ireland, pursuing artistic training and discovered stained glass. Post-Paris stay, crucial for her development, depleting her resources, she moved to the Riviera as an art tutor to a rich lady.

Creative Evolution and Partnership

The artist connected with Archipenko in Nice in 1917. They quickly bonded. He described her as “my best student” and started championing her work. She produced her shaped paintings, pieces that rejected conventional shapes for uniquely shaped pictures emphasizing their cubist distortions.

Today’s non-rectangular works are often attributed to another European creator, experts believe she pioneered of her generation to develop this “totally different art form”.

But her contribution was ignored. During that period, cubist and abstract works were dominated by men; excessively rational, too rational, for women.

Appreciation and Influence

More than a century later, she is finally being acknowledged. The museum, recently renovated, seeks to feature female artists in its displays. Before the revamp, only one piece was owned of Donas’s works, rarely exhibited.

This event aligns with a rising effort to recover long-neglected female masters, including other historical figures. Other exhibitions have brought out from storage creations by more women spanning multiple eras.

A specialist dedicated a long time advocating for her work, praising “the grace, the colours, the innovation and the aesthetic” of her creations. A contributor involved in the project denounces the patronizing attitude by her peers. Contrary to belief, she wasn’t “an inexperienced student” at the time of their meeting, but a 32-year old artist in her own right.

Later Years and Lasting Influence

The connection they shared dissolved by the early 1920s. She wed and relocated to rural Belgium; her mentor left for the US. Then Donas dropped off the art scene for two decades after the 1920s, following motherhood in mid-life. Decades later, she minimized their relationship, stating it was just “a short time at the sculptor’s studio”.

This exhibition reveals a much more intense artistic energy. Concluding with a pair of pieces: her work seemingly influenced by his sculpture she kept after the break-up. The dynamic colors and forms in both pieces work together, but experts note “she forged her own path, she never copied”.

• Donas, Archipenko & La Section d’Or Enchanting Modernism is hosted in Antwerp until 11 January 2026.