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During n those unsettled era after World War I, as artistic innovation flourished, art reviewers were intrigued by the ambiguously titled contemporary Tour Donas. “We observe an unusual allure in Donas’s art unfamiliar in seeing in painters of his school,” wrote one, “a kind of modest hesitation implying a feminine sensitivity.” These pieces, was in fact, created by Marthe Donas, specifically the Belgian artist, a Belgian using an androgynous pseudonym to get on in a field largely controlled by males.

Using this identity, she enjoyed a brief but dazzling career, before falling into obscurity. Now, the city of her birth presents a major exhibition positioning her in the modernist pantheon, alongside Amedeo Modigliani and renowned creators. The display, which opens on Saturday at KMSKA, features over fifty pieces, from cubist paintings in warm colours, textile-inspired shimmer, plus minimalist forms.

Abstract expression goes hand in hand with grace,” the curator commented. One finds a genuine push for innovation, for innovation … but there is also an immense desire, an appetite for classical beauty.”

Differing from more radical artists, the association avoided extremism, as per the art historian. Among the highlights in the exhibition is titled The Dance, created by Donas over 1918 and 1919. It was considered lost, until discovered in Japan in preparation for this exhibition.

Beginnings and Struggles

Marthe Donas entered life in 1885 into an affluent francophone household in Antwerp. Her grandfather practiced realism, but Donas’s father opposed his daughter following this path; he withdrew her from art school at that time very quickly.

A decade later, she resumed her education, set on becoming a painter, following a pivotal incident. A fall from a roof while trying to catch a glimpse of the king, on a trip to the city, crashing downward as she descended. Her studies ceased due to the 1914 invasion. Although her family left to the Netherlands, Donas headed to Ireland, pursuing artistic training mastering the craft of stained glass creation. Following time in Paris, crucial for her development, but drained her savings, she relocated south as an art tutor to an affluent patron.

Artistic Breakthrough and Collaboration

The artist connected with Archipenko on the French Riviera. They quickly bonded. He referred to her as “the finest learner” and began to promote her art. Donas created paintings with unique contours, works that shunned conventional shapes for uniquely shaped pictures that highlighted their distorted perspectives.

Although contemporary shaped art are frequently credited to another European creator, experts believe she pioneered in that era to pioneer this innovative approach.

But her contribution was ignored. Then, cubism and abstract art were considered masculine domains; excessively rational, too calculated, for sensitive women.

Rediscovery and Impact

Over a hundred years later, Donas is slowly gaining recognition. The museum, recently renovated, wants to promote female artists within its holdings. Previously, only one piece was owned of Donas’s works, infrequently shown.

The exhibition reflects a growing movement to resurrect overlooked women artists, including earlier innovators. Parallel events have unveiled from storage the works of other pioneers across different styles.

A specialist dedicated a long time advocating for Donas, appreciating “the elegance, the colours, the originality and the aesthetic” in her art. A co-curator involved in the project questions the dismissive treatment of Donas’s contemporaries. She wasn’t “a novice” at the time of their meeting, rather a mature creator with her own voice.

Later Life and Enduring Impact

The connection of the two artists concluded around 1921. After marrying, she moved to rural Belgium; Archipenko emigrated to America. Then Donas dropped off the art scene for a long period from the late 1920s, after she unexpectedly became a mother aged 45. Decades later, she minimized the connection with Archipenko, claiming she had only spent “a short time at the sculptor’s studio”.

This presentation reveals a much more intense innovative drive. It ends with a pair of pieces: a composition by Donas that appears to have been inspired by an Archipenko sculpture she kept after the break-up. The dynamic colors and forms of the two works complement each other, although specialists emphasize “she created independently, she didn’t imitate”.

• This collection showcasing modernist charm is on view until 11 January 2026.