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I In the those turbulent era following the Great War, while artistic innovation blossomed, commentators were intrigued by the pseudonymous contemporary Tour Donas. “There is a kind of appeal in the creations of Tour Donas rarely seen among artists of his movement,” noted a critic, “a sense of modest hesitation implying a feminine sensitivity.” These pieces, actually, her work, that is Marthe Donas, from Belgium who adopted a gender-neutral name to succeed in a field largely controlled by males.

Under this pseudonym, Marthe had a meteoric rise, then slipping into anonymity. Currently, Antwerp showcases a major exhibition establishing her alongside modernist masters, with Piet Mondrian and other luminaries. The exhibition, which opens on Saturday at KMSKA, showcases over fifty pieces, including cubist artworks with rich hues, textile-inspired shimmer, to flatter abstract pieces.

Abstract expression is paired with refinement,” the curator stated. We see a true quest for novelty, for change … alongside that is a powerful yearning, a hunger for timeless grace.”

Differing from the avant-garde extremists, this artistic group eschewed rebellion, stated by the curator. One of the most prized works featured is titled The Dance, which Donas painted during 1918-1919. This piece had been missing, until discovered in Japan in preparation for the Antwerp display.

Early Life and Challenges

She entered life in 1885 from a prosperous family speaking French in Antwerp. A forebear had been a realist painter, yet her parent did not support a career in art; he pulled her out from training at that time very quickly.

Ten years afterward, Donas enrolled again, committed to her craft, following a pivotal incident. She tumbled from a rooftop while trying to catch a glimpse of King Albert I, who was visiting Antwerp, crashing downward on her way down. Her education were halted by wartime events. Although her family left across the border, she traveled to Dublin, where she enrolled in art school and discovered glass art. Post-Paris stay, transformative for her style, yet exhausted her funds, she moved to the Riviera teaching drawing to an affluent patron.

Innovation and Alliance

She encountered Archipenko in Nice in 1917. An instant connection formed. He called her “his top pupil” and began to promote her work. She produced her shaped paintings, works that shunned traditional rectangles in favor of distinctive forms emphasizing cubist alterations.

Although contemporary shaped art are often attributed to the Hungarian artist, curators argue Donas was the first of her generation to develop this innovative approach.

However, her input remained unrecognized. Then, cubism and abstract art were dominated by men; excessively rational, too rational, for female artists.

Appreciation and Influence

More than a century later, she is finally being acknowledged. The institution, which reopened in 2022, wants to promote women creators within its holdings. Earlier, the museum had only one by Donas, which was not always on display.

The showcase mirrors an expanding trend to rediscover overlooked women artists, like earlier innovators. Similar shows have unveiled from storage creations by more women spanning multiple eras.

An expert has spent two decades advocating for the artist, who he admires for “the grace, the palette, the innovation and the aesthetic” of her work. A contributor involved in the project questions the dismissive treatment from her era. She wasn’t “a young pupil” during their collaboration, instead an established painter in her own right.

Later Life and Enduring Impact

The partnership between Donas and Archipenko dissolved by the early 1920s. After marrying, she moved to a pastoral setting; Archipenko emigrated to America. Subsequently, she disappeared from the artistic map for a long period starting in the 1920s, after she unexpectedly became a mother at age 45. Years afterward, Donas played down the connection with Archipenko, stating it was just “a short time at the sculptor’s studio”.

This presentation uncovers a far deeper innovative drive. Concluding with two works: her work reflecting an Archipenko sculpture held onto afterward. The bright hues and lines of the two works work together, but experts note “she created independently, avoiding replication”.

• This collection highlighting captivating art is hosted in Antwerp closing in January 2026.