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I Amid those turbulent years following the first world war, when creative exploration flourished, critics found fascination with the pseudonymous modernist artist Tour Donas. “One finds a certain allure in Donas’s art that we are not accustomed to seeing in painters of his school,” noted a critic, “an element of gentle timidity implying a feminine sensitivity.” The art, in reality, her work, namely Marthe Donas, from Belgium who adopted an androgynous pseudonym to succeed in a field largely controlled by males.

Using this identity, she experienced a short yet brilliant period, then slipping into anonymity. Now, the city of her birth presents a significant display to place her among modernist greats, with Piet Mondrian as well as other luminaries. The display, launching shortly at KMSKA, showcases numerous creations, including cubist artworks with rich hues, glimmering fabric motifs, to flatter abstract pieces.

Abstract expression complements elegance,” the curator commented. We see a true quest for novelty, for innovation … alongside that is this incredible thirst, a hunger for timeless grace.”

In contrast to provocative modernists, this artistic group avoided extremism, as per the exhibition organizer. A standout piece in the exhibition is titled The Dance, which Donas painted over 1918 and 1919. This piece was considered lost, before being located in Japan ahead of the Antwerp display.

Formative Years and Obstacles

The artist entered life in 1885 into an affluent French-speaking family in the city. An ancestor practiced realism, yet her parent opposed her artistic ambitions; he pulled her out from her studies at that time very quickly.

Later on, she returned to school, set on becoming a painter, post-accident. A fall from a roof while attempting to see King Albert I, during a royal visit, smashing through a glass ceiling on her way down. Her studies were halted by the German invasion of 1914. While her family fled across the border, Marthe went to Dublin, where she enrolled in art school and learned how to make glass art. After a spell in Paris, crucial for her development, depleting her resources, she moved to the Riviera as a drawing instructor to an affluent patron.

Innovation and Alliance

The artist connected with Archipenko in Nice in 1917. They quickly bonded. He referred to her as “the finest learner” and advocated for her art. She pioneered her shaped paintings, art that avoided standard rectangular frames opting for irregular outlines that highlighted their cubist distortions.

While modern shaped paintings are frequently credited to the Hungarian artist, experts believe Donas was the first among her peers to pioneer this innovative approach.

However, her input remained unrecognized. At the time, cubism and abstract art were seen as male preserves; overly cerebral, too rational, for women.

Rediscovery and Impact

Over a hundred years later, her work is receiving attention. KMSKA, recently renovated, wants to promote female artists in its displays. Earlier, a single work was held from her oeuvre, which was not always on display.

The showcase reflects a growing movement to rediscover forgotten female talents, like pioneers from the past. Other exhibitions have retrieved from storage creations by additional female artists spanning multiple eras.

A specialist dedicated a long time advocating for the artist, who he admires for “the grace, the colours, the innovation and the beauty” in her art. A co-curator involved in the project denounces the patronizing attitude by her peers. She was not “an inexperienced student” during their collaboration, rather a mature creator in her own right.

Final Chapters and Legacy

The partnership of the two artists concluded around 1921. After marrying, she moved to a pastoral setting; her mentor left for the US. Then Donas dropped off public view for two decades from the late 1920s, after she unexpectedly became a mother aged 45. Years afterward, she understated his influence, claiming she had only spent “a few months working with him”.

This presentation uncovers a far deeper innovative drive. Concluding with two works: her work reflecting an Archipenko sculpture she retained post-separation. The vivid colours and curves from each artwork work together, although specialists emphasize “she forged her own path, avoiding replication”.

• This collection highlighting captivating art is at the Royal Museum of Fine Arts until 11 January 2026.