Rediscovering Marthe Donas: An Artistic Visionary Shines Once More

During In the the chaotic era post World War I, as creative exploration thrived, commentators were captivated by the pseudonymous contemporary the name Tour Donas. “One finds a kind of charm in Tour Donas’s work unfamiliar in his contemporaries,” wrote one, “an element of gentle timidity that seems to reveal a woman’s touch.” His work, was in fact, her work, that is Donas herself, a Belgian who had taken a gender-neutral name to succeed in a field largely controlled by males.

Using this identity, the artist experienced a short yet brilliant period, then slipping into anonymity. Today, the city of her birth presents a major exhibition to place her among modernist greats, together with Amedeo Modigliani as well as prominent figures. The display, starting this weekend at the Royal Museum of Fine Arts (KMSKA), features over fifty pieces, from cubist paintings in warm colours, textile-inspired shimmer, to flatter abstract pieces.

The feeling of abstraction complements grace,” a specialist commented. We see a true quest for novelty, for advancement … yet there exists a powerful yearning, a hunger for traditional aesthetics.”

Unlike more radical artists, the association eschewed rebellion, as per the curator. A standout piece featured is The Dance, created by Donas during 1918-1919. This piece was thought vanished, until found in Japan ahead of this exhibition.

Formative Years and Obstacles

She entered life in 1885 to a well-to-do francophone household in her birthplace. Her grandfather was a realist artist, however, her father did not support his daughter following this path; he withdrew her from training early on very quickly.

A decade later, she resumed her education, determined to be an artist, following a pivotal incident. A fall from a roof while attempting to see the king, who was visiting Antwerp, breaking through glass as she descended. Her education were then interrupted by the German invasion of 1914. As her relatives escaped across the border, Marthe went to Dublin, where she enrolled in art school and discovered glass art. Post-Paris stay, crucial for her development, yet exhausted her funds, she moved to the Riviera as an art tutor to a rich lady.

Creative Evolution and Partnership

Donas met Archipenko on the French Riviera. They quickly bonded. He referred to her as “his top pupil” and advocated for her creations. Donas created paintings with unique contours, pieces that rejected conventional shapes for uniquely shaped pictures accentuating cubist alterations.

While modern shaped paintings are often attributed to a different pioneer, experts believe Donas was the first in that era to develop this innovative approach.

However, her input remained unrecognized. Then, cubist and abstract works were dominated by men; overly cerebral, too logical, for sensitive women.

Recognition and Legacy

More than a century later, she is finally being acknowledged. KMSKA, freshly restored, seeks to feature artists who are women in its displays. Before the revamp, only one piece was owned from her oeuvre, infrequently shown.

The exhibition aligns with a rising effort to recover overlooked women artists, including other historical figures. Similar shows have brought out from obscurity pieces from additional female artists from various movements.

An art historian dedicated a long time working to promote Donas, praising “the grace, the colours, the originality and the beauty” in her art. A contributor involved in the project questions the dismissive treatment from her era. Contrary to belief, she wasn’t “a novice” during their collaboration, instead an established painter independently.

Later Life and Enduring Impact

The partnership of the two artists had ended by mid-1921. After marrying, she moved to rural Belgium; he moved overseas. Then Donas dropped off public view for a long period after the 1920s, following motherhood at age 45. Years afterward, she minimized their relationship, claiming she had only spent “a brief period at the sculptor’s studio”.

This presentation uncovers a far deeper creative spark. Concluding with two works: a composition by Donas seemingly influenced by his sculpture she kept after the break-up. The dynamic colors and forms from each artwork are in harmony, yet observers remark “she forged her own path, she didn’t imitate”.

• This collection showcasing modernist charm is at the Royal Museum of Fine Arts through early 2026.