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During Amid the turbulent years after World War I, when creative exploration blossomed, commentators were intrigued by the mysteriously named contemporary artist Tour Donas. “There is a kind of charm in Donas’s art unfamiliar in artists of his movement,” noted a critic, “a sense of soft reserve suggesting a woman’s touch.” The art, in reality, by a woman, namely Donas herself, a Belgian using an androgynous pseudonym to navigate the male-dominated art world.

Using this identity, the artist enjoyed a brief but dazzling career, before falling into obscurity. Today, Antwerp is hosting a significant display positioning her in the modernist pantheon, alongside Alexander Archipenko plus prominent figures. The display, launching shortly in Antwerp’s premier art museum, showcases 55 of her works, ranging from cubist compositions using vibrant tones, shimmering impressions of textiles, and geometric abstractions.

Abstract expression complements refinement,” an expert stated. “There is a real drive for renewal, for change … alongside that is an immense desire, a hunger for timeless grace.”

Differing from provocative modernists, La Section d’Or were not radicals, according to the art historian. A standout piece featured is The Dance, which Donas painted over 1918 and 1919. This piece was considered lost, until found in Japan while organizing the current show.

Formative Years and Obstacles

The artist entered life in 1885 to a well-to-do family speaking French in the city. Her grandfather was a realist artist, but Donas’s father was not keen on her artistic ambitions; he removed her from her studies early on after a month.

Later on, she returned to school, determined to be an artist, following a pivotal incident. A fall from a roof while trying to catch a glimpse of the king, during a royal visit, crashing downward on her way down. Her studies were halted by the 1914 invasion. While her family fled for the Netherlands, Marthe went to Dublin, pursuing artistic training and learned how to make stained glass. Following time in Paris, which was pivotal for her art, but drained her savings, she relocated south teaching drawing to a rich lady.

Innovation and Alliance

She encountered Archipenko during 1917 in Nice. The pair soon clicked. He called her “his top pupil” and began to promote her art. She produced her shaped paintings, works that shunned conventional shapes for uniquely shaped pictures accentuating their cubist distortions.

Today’s non-rectangular works are frequently credited to the Hungarian artist, curators argue Donas was the first of her generation to develop this innovative approach.

But her contribution was overlooked. Then, modernist movements were seen as male preserves; overly cerebral, too logical, for female artists.

Appreciation and Influence

More than a century later, she is finally being acknowledged. The museum, freshly restored, aims to highlight women creators within its holdings. Earlier, only one piece was owned by Donas, which was not always on display.

The exhibition reflects a growing movement to resurrect overlooked women artists, including other historical figures. Similar shows have brought out from obscurity pieces from additional female artists spanning multiple eras.

An expert devoted twenty years trying to bring attention to her work, appreciating “the elegance, the palette, the originality and the aesthetic” of her work. An organizer involved in the project questions the dismissive treatment of Donas’s contemporaries. Contrary to belief, she wasn’t “a novice” during their collaboration, rather a mature creator in her own right.

Final Chapters and Legacy

The connection of the two artists had ended by mid-1921. Donas married and moved to a pastoral setting; Archipenko emigrated to America. Subsequently, she disappeared from public view for a long period starting in the 1920s, when she had a child in mid-life. Decades later, she understated his influence, stating it was just “a short time at the sculptor’s studio”.

The current show reveals a much more intense creative spark. Finishing with two works: one by Donas that appears to have been inspired by a piece by Archipenko held onto afterward. The vivid colours and curves of the two works complement each other, but experts note “she created independently, avoiding replication”.

• The exhibition Enchanting Modernism is hosted in Antwerp until 11 January 2026.