Rediscovering the Overlooked Modernist: An Artistic Visionary Takes Center Stage Once More

During n those turbulent period after the Great War, while creative exploration flourished, critics were captivated by the mysteriously named modernist Tour Donas. “There is a kind of charm in the creations of Tour Donas that we are not accustomed to his contemporaries,” noted a critic, “an element of gentle timidity that seems to reveal a feminine sensitivity.” These pieces, actually, created by Marthe Donas, namely Marthe Donas, a Belgian using a gender-neutral name to succeed in a field largely controlled by males.

Using this identity, Marthe had a meteoric rise, before falling into obscurity. Now, her hometown showcases a major exhibition to place her alongside modernist masters, with Piet Mondrian plus prominent figures. The exhibition, which opens on Saturday at the Royal Museum of Fine Arts (KMSKA), features 55 of her works, from cubist paintings with rich hues, shimmering impressions of textiles, plus minimalist forms.

Abstract expression complements refinement,” an expert noted. “There is a genuine push for innovation, for advancement … yet there exists this incredible thirst, a hunger for classical beauty.”

Differing from provocative modernists, the association eschewed rebellion, as per the curator. A standout piece on display is the work The Dance, painted by the artist during 1918-1919. This piece was thought vanished, until found in Japan in preparation for this exhibition.

Early Life and Challenges

The artist came into the world in 1885 from a prosperous francophone household in the city. Her grandfather was a realist artist, but Donas’s father was not keen on a career in art; he removed her from art school in 1902 following just one month.

Later on, Donas enrolled again, committed to her craft, following a pivotal incident. She tumbled from a rooftop while trying to catch a glimpse of the monarch, who was visiting Antwerp, breaking through glass during the fall. Her training were halted by wartime events. Although her family left for the Netherlands, Marthe went to Dublin, where she enrolled in art school and learned how to make glass art. Post-Paris stay, which was pivotal for her art, depleting her resources, she relocated south as an art tutor for a wealthy woman.

Innovation and Alliance

The artist connected with Archipenko on the French Riviera. The pair soon clicked. He described her as “his top pupil” and began to promote her creations. She produced unconventionally formed artworks, works that shunned traditional rectangles for uniquely shaped pictures accentuating their cubist distortions.

Today’s non-rectangular works usually associate with a different pioneer, historians contend she led the way in that era to pioneer this “totally different art form”.

Yet her role remained unrecognized. During that period, cubist and abstract works were seen as male preserves; excessively rational, too calculated, for female artists.

Recognition and Legacy

Now, after decades, Donas is slowly gaining recognition. The institution, which reopened in 2022, aims to highlight female artists in the collection. Earlier, the museum had only one from her oeuvre, rarely exhibited.

This event reflects a growing movement to resurrect forgotten female talents, including other historical figures. Parallel events have retrieved from storage the works of other pioneers spanning multiple eras.

A specialist devoted twenty years advocating for Donas, praising “the elegance, the palette, the originality and the aesthetic” of her work. A co-curator of the exhibition questions the dismissive treatment from her era. She was not “a novice” at the time of their meeting, but a 32-year old artist in her own right.

Later Life and Enduring Impact

The relationship of the two artists concluded around 1921. After marrying, she moved to rural Belgium; Archipenko emigrated to America. Then Donas dropped off public view for a long period starting in the 1920s, when she had a child aged 45. Later in life, Donas played down their relationship, saying it was merely “a short time at the sculptor’s studio”.

This presentation uncovers a far deeper artistic energy. Finishing with two artworks: one by Donas reflecting his sculpture she kept after the break-up. The dynamic colors and forms in both pieces work together, although specialists emphasize “she does something of her own, she never copied”.

• The exhibition showcasing modernist charm is at the Royal Museum of Fine Arts until 11 January 2026.