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A Amid those chaotic period post World War I, while creative exploration flourished, art reviewers were captivated by the pseudonymous contemporary the name Tour Donas. “One finds an unusual appeal in Tour Donas’s work unfamiliar in his contemporaries,” remarked an observer, “a sense of gentle timidity implying a feminine sensitivity.” His work, was in fact, created by Marthe Donas, namely the Belgian artist, an Antwerp native using a gender-neutral name to succeed in the art scene dominated by men.

As Tour Donas, Marthe had a meteoric rise, before falling into obscurity. Now, her hometown presents a major exhibition establishing her among modernist greats, alongside Amedeo Modigliani and renowned creators. This showcase, starting this weekend at KMSKA, features 55 of her works, from cubist paintings using vibrant tones, textile-inspired shimmer, plus minimalist forms.

Abstract expression is paired with refinement,” an expert commented. “There is a genuine push for innovation, for innovation … yet there exists an immense desire, a hunger for traditional aesthetics.”

In contrast to more radical artists, La Section d’Or eschewed rebellion, stated by the exhibition organizer. Among the highlights in the exhibition is the work The Dance, which Donas painted in 1918-19. This piece had been missing, before being located in Japan while organizing this exhibition.

Early Life and Challenges

Marthe Donas entered life in 1885 to a well-to-do family speaking French in Antwerp. Her grandfather was a realist artist, yet her parent opposed his daughter following this path; he pulled her out from art school at that time after a month.

Later on, she resumed her education, committed to her craft, post-accident. She fell off a roof hoping to view King Albert I, who was visiting Antwerp, crashing downward on her way down. Her studies were halted by wartime events. As her relatives escaped across the border, she traveled to Dublin, pursuing artistic training mastering the craft of stained glass. Post-Paris stay, which was pivotal for her art, but drained her savings, she moved to the Riviera teaching drawing for a wealthy woman.

Creative Evolution and Partnership

The artist connected with Archipenko during 1917 in Nice. An instant connection formed. He referred to her as “the finest learner” and advocated for her creations. She produced paintings with unique contours, pieces that rejected standard rectangular frames in favor of distinctive forms that highlighted cubist alterations.

While modern shaped paintings are often attributed to the Hungarian artist, experts believe she pioneered in that era to pioneer this distinct style.

However, her input remained unrecognized. At the time, cubism and abstract art were seen as male preserves; excessively rational, too calculated, for female artists.

Rediscovery and Impact

Over a hundred years later, she is finally being acknowledged. The institution, which reopened in 2022, seeks to feature artists who are women in the collection. Earlier, only one piece was owned of Donas’s works, which was not always on display.

This event reflects a growing movement to resurrect long-neglected female masters, like other historical figures. Other exhibitions have brought out from dusty storerooms pieces from additional female artists from various movements.

A specialist has spent two decades working to promote Donas, who he admires for “the grace, the colours, the innovation and the aesthetic” of her creations. A contributor for the show denounces the patronizing attitude by her peers. She was not “a young pupil” at the time of their meeting, but a 32-year old artist independently.

Later Years and Lasting Influence

The partnership they shared dissolved by the early 1920s. Donas married and moved to the Walloon countryside; he moved overseas. She then vanished from public view for two decades from the late 1920s, following motherhood in mid-life. Years afterward, she minimized their relationship, claiming she had only spent “a brief period in his workshop”.

The current show displays a stronger artistic energy. It ends with two works: one by Donas reflecting an Archipenko sculpture she kept after the break-up. The bright hues and lines in both pieces work together, yet observers remark “she forged her own path, she didn’t imitate”.

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