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A In the the turbulent era following the Great War, while artistic experiment blossomed, critics found fascination with the pseudonymous avant-garde artist Tour Donas. “We observe an unusual charm in Donas’s art that we are not accustomed to his contemporaries,” remarked an observer, “an element of soft reserve suggesting a feminine sensitivity.” The art, in reality, created by Marthe Donas, specifically the Belgian artist, from Belgium using a non-gendered alias to succeed in the art scene dominated by men.

Using this identity, the artist had a meteoric rise, before falling into obscurity. Now, Antwerp is hosting a major exhibition establishing her among modernist greats, together with Amedeo Modigliani and prominent figures. This showcase, which opens on Saturday in Antwerp’s premier art museum, highlights numerous creations, from cubist paintings with rich hues, textile-inspired shimmer, to flatter abstract pieces.

The feeling of abstraction goes hand in hand with refinement,” a specialist commented. We see a true quest for novelty, for change … but there is also an immense desire, an appetite for classical beauty.”

Differing from provocative modernists, the association avoided extremism, as per the art historian. Among the highlights on display is titled The Dance, created by Donas in 1918-19. It was considered lost, until discovered in Japan ahead of this exhibition.

Beginnings and Struggles

She entered life in 1885 into an affluent francophone household in her birthplace. A forebear was a realist artist, yet her parent opposed his daughter following this path; he pulled her out from art school in 1902 after a month.

Ten years afterward, she returned to school, committed to her craft, after a life-changing accident. A fall from a roof hoping to view King Albert I, on a trip to the city, crashing downward during the fall. Her studies were then interrupted by the German invasion of 1914. Although her family left to the Netherlands, she traveled to Dublin, where she enrolled in art school and learned how to make stained glass creation. Following time in Paris, which was pivotal for her art, yet exhausted her funds, she moved to the Riviera as an art tutor to a rich lady.

Artistic Breakthrough and Collaboration

She encountered Archipenko during 1917 in Nice. An instant connection formed. He described her as “my best student” and advocated for her creations. She pioneered her shaped paintings, pieces that rejected standard rectangular frames opting for irregular outlines that highlighted their distorted perspectives.

Although contemporary shaped art are often attributed to another European creator, historians contend Donas was the first of her generation to pioneer this “totally different art form”.

However, her input was overlooked. Then, cubism and abstract art were considered masculine domains; overly cerebral, too logical, for women.

Appreciation and Influence

More than a century later, Donas is slowly gaining recognition. The museum, freshly restored, wants to promote female artists within its holdings. Previously, only one piece was owned from her oeuvre, rarely exhibited.

The exhibition reflects a growing movement to recover overlooked women artists, like pioneers from the past. Similar shows have brought out from storage pieces from more women across different styles.

A specialist dedicated a long time trying to bring attention to the artist, appreciating “the elegance, the colours, the innovation and the aesthetic” of her creations. A co-curator involved in the project criticises the condescension by her peers. She was not “a novice” during their collaboration, rather a mature creator independently.

Later Life and Enduring Impact

The relationship between Donas and Archipenko concluded around 1921. After marrying, she moved to the Walloon countryside; Archipenko emigrated to America. She then vanished from public view for two decades after the 1920s, following motherhood in mid-life. Decades later, she minimized their relationship, claiming she had only spent “a brief period at the sculptor’s studio”.

The current show uncovers a far deeper innovative drive. It ends with two works: a composition by Donas seemingly influenced by his sculpture she kept after the break-up. The bright hues and lines of the two works complement each other, although specialists emphasize “she created independently, she never copied”.

• Donas, Archipenko & La Section d’Or highlighting captivating art is hosted in Antwerp through early 2026.