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I n the unsettled era post the Great War, as artistic innovation blossomed, critics were intrigued by the ambiguously titled avant-garde Tour Donas. “There is a certain charm in Tour Donas’s work that we are not accustomed to seeing in painters of his school,” noted a critic, “a kind of modest hesitation that seems to reveal a feminine sensitivity.” The art, in reality, by a woman, specifically Donas herself, from Belgium using a non-gendered alias to navigate a field largely controlled by males.

Under this pseudonym, Marthe had a meteoric rise, prior to fading from view. Currently, Antwerp is hosting an extensive show to place her alongside modernist masters, alongside Amedeo Modigliani as well as other luminaries. The display, launching shortly in Antwerp’s premier art museum, features numerous creations, ranging from cubist compositions with rich hues, shimmering impressions of textiles, plus minimalist forms.

Abstract expression is paired with grace,” a specialist commented. One finds a true quest for novelty, for change … but there is also a powerful yearning, a hunger for classical beauty.”

Differing from the avant-garde extremists, La Section d’Or eschewed rebellion, as per the exhibition organizer. A standout piece in the exhibition is titled The Dance, painted by the artist during 1918-1919. It was considered lost, until discovered in Japan ahead of this exhibition.

Beginnings and Struggles

Marthe Donas entered life in 1885 from a prosperous French-speaking family in Antwerp. A forebear had been a realist painter, however, her father did not support her artistic ambitions; he withdrew her from training early on very quickly.

A decade later, Donas enrolled again, committed to her craft, post-accident. A fall from a roof hoping to view the king, who was visiting Antwerp, smashing through a glass ceiling on her way down. Her education were then interrupted by the German invasion of 1914. As her relatives escaped to the Netherlands, she traveled to Dublin, where she enrolled in art school mastering the craft of stained glass. Post-Paris stay, crucial for her development, yet exhausted her funds, she relocated south teaching drawing to a rich lady.

Innovation and Alliance

The artist connected with Archipenko during 1917 in Nice. They quickly bonded. He described her as “the finest learner” and started championing her creations. Donas created paintings with unique contours, art that avoided conventional shapes in favor of distinctive forms emphasizing their distorted perspectives.

Although contemporary shaped art are often attributed to the Hungarian artist, historians contend she pioneered of her generation to pioneer this distinct style.

Yet her role was ignored. Then, cubism and abstract art were seen as male preserves; excessively rational, too logical, for sensitive women.

Appreciation and Influence

More than a century later, her work is receiving attention. The museum, recently renovated, aims to highlight women creators in its displays. Before the revamp, the museum had only one of Donas’s works, which was not always on display.

The showcase mirrors an expanding trend to rediscover forgotten female talents, like earlier innovators. Similar shows have retrieved from dusty storerooms pieces from more women spanning multiple eras.

A specialist dedicated a long time working to promote Donas, appreciating “the grace, the colours, the innovation and the aesthetic” of her creations. A contributor involved in the project criticises the condescension of Donas’s contemporaries. She wasn’t “an inexperienced student” during their collaboration, but a 32-year old artist in her own right.

Later Years and Lasting Influence

The partnership between Donas and Archipenko had ended by mid-1921. She wed and relocated to a pastoral setting; her mentor left for the US. Then Donas dropped off the artistic map for two decades after the 1920s, after she unexpectedly became a mother aged 45. Later in life, Donas played down his influence, saying it was merely “a few months working in his workshop”.

The current show uncovers a far deeper innovative drive. Concluding with a pair of pieces: a composition by Donas reflecting a piece by Archipenko held onto afterward. The bright hues and lines in both pieces complement each other, yet observers remark “she created independently, she didn’t imitate”.

• Donas, Archipenko & La Section d’Or Enchanting Modernism is at the Royal Museum of Fine Arts closing in January 2026.