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During n those turbulent era following World War I, when artistic experiment flourished, art reviewers were intrigued by the pseudonymous avant-garde Tour Donas. “We observe a certain charm in the creations of Tour Donas unfamiliar in seeing in painters of his school,” remarked an observer, “an element of gentle timidity suggesting a woman’s touch.” These pieces, in reality, her work, specifically the Belgian artist, from Belgium who adopted a non-gendered alias to succeed in a field largely controlled by males.

Using this identity, the artist enjoyed a brief but dazzling career, prior to fading from view. Currently, her hometown presents a major exhibition establishing her alongside modernist masters, together with Amedeo Modigliani as well as prominent figures. The exhibition, launching shortly in Antwerp’s premier art museum, highlights numerous creations, including cubist artworks using vibrant tones, shimmering impressions of textiles, plus minimalist forms.

The feeling of abstraction goes hand in hand with refinement,” the curator stated. “There is a genuine push for innovation, for advancement … but there is also this incredible thirst, a craving for timeless grace.”

In contrast to more radical artists, La Section d’Or were not radicals, according to the curator. One of the most prized works in the exhibition is The Dance, painted by the artist during 1918-1919. This piece had been missing, until discovered in Japan ahead of this exhibition.

Early Life and Challenges

Marthe Donas came into the world in 1885 to a well-to-do French-speaking family in her birthplace. Her grandfather was a realist artist, yet her parent opposed a career in art; he removed her from art school in 1902 following just one month.

Ten years afterward, she returned to school, set on becoming a painter, following a pivotal incident. A fall from a roof hoping to view the king, during a royal visit, breaking through glass as she descended. Her studies were then interrupted by the 1914 invasion. Although her family left to the Netherlands, she traveled to Dublin, pursuing artistic training and discovered stained glass. Post-Paris stay, which was pivotal for her art, depleting her resources, she went to the French Riviera teaching drawing to a rich lady.

Innovation and Alliance

She encountered Archipenko during 1917 in Nice. They quickly bonded. He referred to her as “my best student” and advocated for her creations. Donas created paintings with unique contours, art that avoided conventional shapes opting for irregular outlines accentuating their cubist distortions.

Today’s non-rectangular works are frequently credited to another European creator, experts believe she led the way in that era to pioneer this distinct style.

But her contribution was ignored. At the time, modernist movements were seen as male preserves; excessively rational, too calculated, for women.

Recognition and Legacy

More than a century later, her work is receiving attention. KMSKA, recently renovated, wants to promote female artists in the collection. Earlier, a single work was held of Donas’s works, infrequently shown.

The exhibition reflects a growing movement to recover overlooked women artists, like pioneers from the past. Other exhibitions have brought out from obscurity pieces from more women from various movements.

An art historian dedicated a long time working to promote the artist, appreciating “the elegance, the palette, the originality and the beauty” in her art. An organizer involved in the project questions the dismissive treatment of Donas’s contemporaries. She wasn’t “a novice” at the time of their meeting, rather a mature creator in her own right.

Later Life and Enduring Impact

The partnership of the two artists concluded around 1921. After marrying, she moved to the Walloon countryside; Archipenko emigrated to America. She then vanished from the artistic map for two decades after the 1920s, following motherhood aged 45. Decades later, she understated their relationship, claiming she had only spent “a brief period at the sculptor’s studio”.

This presentation displays a stronger innovative drive. Concluding with a pair of pieces: one by Donas reflecting a piece by Archipenko she retained post-separation. The bright hues and lines in both pieces complement each other, yet observers remark “she does something of her own, she didn’t imitate”.

• This collection highlighting captivating art is at the Royal Museum of Fine Arts closing in January 2026.