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A In the those chaotic years following the first world war, when artistic innovation blossomed, commentators found fascination with the pseudonymous contemporary artist Tour Donas. “We observe an unusual appeal in Tour Donas’s work that we are not accustomed to seeing in painters of his school,” wrote one, “a kind of gentle timidity that seems to reveal a feminine sensitivity.” The art, in reality, created by Marthe Donas, namely the Belgian artist, an Antwerp native using a gender-neutral name to navigate a field largely controlled by males.

Under this pseudonym, she enjoyed a brief but dazzling career, prior to fading from view. Now, Antwerp showcases a major exhibition establishing her in the modernist pantheon, together with Piet Mondrian as well as prominent figures. This showcase, which opens on Saturday at KMSKA, features over fifty pieces, from cubist paintings in warm colours, shimmering impressions of textiles, plus minimalist forms.

Abstract expression complements grace,” the curator stated. “There is a genuine push for innovation, for innovation … alongside that is an immense desire, a craving for classical beauty.”

In contrast to more radical artists, La Section d’Or eschewed rebellion, according to the art historian. A standout piece on display is the work The Dance, created by Donas over 1918 and 1919. The work had been missing, until found in Japan in preparation for this exhibition.

Early Life and Challenges

Marthe Donas came into the world in 1885 into an affluent family speaking French in the city. A forebear was a realist artist, but Donas’s father opposed her artistic ambitions; he withdrew her from her studies in 1902 very quickly.

Later on, Donas enrolled again, determined to be an artist, following a pivotal incident. She fell off a roof while trying to catch a glimpse of King Albert I, who was visiting Antwerp, breaking through glass as she descended. Her studies were then interrupted by the 1914 invasion. As her relatives escaped across the border, Donas headed to Ireland, where she studied art and learned how to make stained glass creation. Following time in Paris, which was pivotal for her art, depleting her resources, she went to the French Riviera as an art tutor for a wealthy woman.

Innovation and Alliance

The artist connected with Archipenko in Nice in 1917. An instant connection formed. He described her as “the finest learner” and began to promote her art. Donas created her shaped paintings, art that avoided standard rectangular frames opting for irregular outlines emphasizing their distorted perspectives.

While modern shaped paintings are often attributed to another European creator, experts believe she led the way among her peers to invent this innovative approach.

However, her input was overlooked. At the time, cubist and abstract works were considered masculine domains; too intellectual, too logical, for female artists.

Rediscovery and Impact

Now, after decades, she is finally being acknowledged. KMSKA, freshly restored, wants to promote female artists in its displays. Earlier, a single work was held by Donas, which was not always on display.

The showcase reflects a growing movement to rediscover forgotten female talents, such as pioneers from the past. Other exhibitions have unveiled from dusty storerooms creations by more women across different styles.

An art historian has spent two decades trying to bring attention to her work, praising “the elegance, the palette, the innovation and the beauty” of her creations. An organizer of the exhibition questions the dismissive treatment of Donas’s contemporaries. She was not “a young pupil” during their collaboration, but a 32-year old artist in her own right.

Later Years and Lasting Influence

The connection of the two artists dissolved by the early 1920s. Donas married and moved to a pastoral setting; he moved overseas. She then vanished from public view for a long period starting in the 1920s, when she had a child at age 45. Decades later, she minimized their relationship, stating it was just “a short time with him”.

The current show displays a stronger artistic energy. It ends with two artworks: her work reflecting an Archipenko sculpture she retained post-separation. The bright hues and lines from each artwork complement each other, yet observers remark “she does something of her own, she never copied”.

• Donas, Archipenko & La Section d’Or showcasing modernist charm is at the Royal Museum of Fine Arts through early 2026.