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A In the those unsettled years after the first world war, as artistic innovation flourished, commentators were intrigued by the ambiguously titled contemporary the name Tour Donas. “There is a kind of appeal in Tour Donas’s work that we are not accustomed to his contemporaries,” noted a critic, “an element of soft reserve implying a woman’s touch.” These pieces, in reality, by a woman, specifically the Belgian artist, an Antwerp native who adopted an androgynous pseudonym to succeed in the art scene dominated by men.

As Tour Donas, she had a meteoric rise, before falling into obscurity. Currently, Antwerp showcases a significant display to place her in the modernist pantheon, alongside Alexander Archipenko as well as prominent figures. The exhibition, which opens on Saturday at KMSKA, highlights over fifty pieces, ranging from cubist compositions in warm colours, glimmering fabric motifs, plus minimalist forms.

“A sense of abstraction complements elegance,” an expert stated. We see a genuine push for innovation, for advancement … yet there exists an immense desire, an appetite for traditional aesthetics.”

In contrast to more radical artists, the association avoided extremism, according to the art historian. One of the most prized works in the exhibition is The Dance, painted by the artist in 1918-19. The work was thought vanished, before being located in Japan while organizing the current show.

Formative Years and Obstacles

The artist came into the world in 1885 into an affluent family speaking French in her birthplace. A forebear had been a realist painter, yet her parent was not keen on a career in art; he pulled her out from training early on following just one month.

A decade later, Donas enrolled again, set on becoming a painter, post-accident. She fell off a roof while trying to catch a glimpse of King Albert I, during a royal visit, breaking through glass as she descended. Her training ceased due to the 1914 invasion. As her relatives escaped across the border, Marthe went to Dublin, pursuing artistic training and discovered glass art. Post-Paris stay, which was pivotal for her art, depleting her resources, she moved to the Riviera as a drawing instructor for a wealthy woman.

Artistic Breakthrough and Collaboration

She encountered Archipenko on the French Riviera. An instant connection formed. He described her as “my best student” and began to promote her art. She pioneered unconventionally formed artworks, works that shunned traditional rectangles in favor of distinctive forms accentuating their distorted perspectives.

Today’s non-rectangular works usually associate with another European creator, historians contend Donas was the first among her peers to invent this distinct style.

But her contribution was ignored. Then, cubist and abstract works were dominated by men; excessively rational, too calculated, for women.

Appreciation and Influence

More than a century later, she is finally being acknowledged. The institution, freshly restored, seeks to feature female artists in its displays. Before the revamp, a single work was held from her oeuvre, which was not always on display.

The exhibition aligns with a rising effort to recover long-neglected female masters, including earlier innovators. Parallel events have brought out from dusty storerooms the works of other pioneers from various movements.

An expert devoted twenty years trying to bring attention to her work, appreciating “the elegance, the colours, the originality and the aesthetic” of her work. An organizer involved in the project denounces the patronizing attitude of Donas’s contemporaries. She wasn’t “a novice” when she met Archipenko, instead an established painter with her own voice.

Final Chapters and Legacy

The partnership between Donas and Archipenko concluded around 1921. After marrying, she moved to the Walloon countryside; her mentor left for the US. Then Donas dropped off public view for a long period from the late 1920s, after she unexpectedly became a mother in mid-life. Decades later, Donas played down his influence, claiming she had only spent “a short time in his workshop”.

This exhibition displays a stronger artistic energy. Concluding with two artworks: her work seemingly influenced by a piece by Archipenko held onto afterward. The dynamic colors and forms in both pieces work together, yet observers remark “she created independently, she never copied”.

• This collection showcasing modernist charm is hosted in Antwerp closing in January 2026.