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A n the turbulent era following the first world war, when artistic experiment flourished, commentators were intrigued by the ambiguously titled avant-garde the name Tour Donas. “There is an unusual charm in Tour Donas’s work rarely seen among artists of his movement,” wrote one, “a kind of gentle timidity implying a feminine sensitivity.” The art, was in fact, created by Marthe Donas, namely the Belgian artist, a Belgian using a gender-neutral name to navigate the art scene dominated by men.

As Tour Donas, the artist experienced a short yet brilliant period, before falling into obscurity. Today, Antwerp presents a significant display positioning her in the modernist pantheon, alongside Alexander Archipenko plus other luminaries. The exhibition, launching shortly at the Royal Museum of Fine Arts (KMSKA), highlights over fifty pieces, including cubist artworks using vibrant tones, shimmering impressions of textiles, plus minimalist forms.

Abstract expression complements refinement,” an expert commented. “There is a genuine push for innovation, for change … alongside that is this incredible thirst, a craving for timeless grace.”

Differing from more radical artists, this artistic group were not radicals, as per the curator. Among the highlights in the exhibition is the work The Dance, created by Donas during 1918-1919. The work was thought vanished, until discovered in Japan ahead of this exhibition.

Beginnings and Struggles

The artist was born in 1885 into an affluent French-speaking family in Antwerp. Her grandfather had been a realist painter, yet her parent opposed a career in art; he withdrew her from her studies at that time very quickly.

Later on, Donas enrolled again, set on becoming a painter, post-accident. She fell off a roof while trying to catch a glimpse of the king, who was visiting Antwerp, breaking through glass as she descended. Her education were halted by the German invasion of 1914. While her family fled across the border, Marthe went to Dublin, where she studied art and discovered stained glass creation. After a spell in Paris, transformative for her style, depleting her resources, she moved to the Riviera teaching drawing to an affluent patron.

Creative Evolution and Partnership

The artist connected with Archipenko during 1917 in Nice. The pair soon clicked. He called her “his top pupil” and started championing her work. She pioneered unconventionally formed artworks, works that shunned traditional rectangles in favor of distinctive forms that highlighted their cubist distortions.

Although contemporary shaped art are frequently credited to a different pioneer, curators argue Donas was the first in that era to develop this “totally different art form”.

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

Appreciation and Influence

Over a hundred years later, Donas is slowly gaining recognition. The museum, freshly restored, wants to promote female artists in the collection. Previously, only one piece was owned from her oeuvre, infrequently shown.

This event mirrors an expanding trend to rediscover forgotten female talents, like pioneers from the past. Parallel events have unveiled from dusty storerooms creations by additional female artists from various movements.

An art historian dedicated a long time working to promote the artist, praising “the elegance, the palette, the originality and the beauty” of her work. A contributor for the show denounces the patronizing attitude by her peers. She was not “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 relationship between Donas and Archipenko dissolved by the early 1920s. After marrying, she moved to the Walloon countryside; he moved overseas. Then Donas dropped off the art scene for a long period from the late 1920s, when she had a child aged 45. Years afterward, she understated their relationship, stating it was just “a few months working with him”.

This presentation uncovers a far deeper innovative drive. Concluding with a pair of pieces: her work that appears to have been inspired by a piece by Archipenko held onto afterward. The vivid colours and curves from each artwork work together, but experts note “she created independently, she didn’t imitate”.

• Donas, Archipenko & La Section d’Or showcasing modernist charm is hosted in Antwerp closing in January 2026.