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拍品 51PROPERTY FROM A PRIVATE GERMAN COLLECTION
MARTHE 'TOUR' DONAS (1885-1967)
Femme se coiffant
已结束2020年7月14日
成交价
GBP 93,750
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专家说明
Born in Antwerp in 1885, Marthe Donas was also known also under the androgynous aliases Tour Donas and Tour d'Onasky. Encouraged as she was by her artist friends at the time who considered her a great talent, Donas sought to obscure her sex by use of these alternative names in order to avert the bias assigned to female artists as potentially less capable. Having studied at the Academy of Art in Antwerp from 1902 to 1905, and after some peregrinations, she settled in Paris to focus on her artistic ambitions.
In late 1917, Donas travelled south to Nice where she worked in Alexander Archipenko's studio. Through him, she was introduced to and allied herself with the avant-garde artists of Paris, Archipenko’s constructivist compositions proving to be visible influence on her work during that time, as evidenced in the present work. Archipenko said once that Donas was his ‘best pupil’, and indeed, her oeuvre manifests a dynamic assimilation of cubism, where geometric shapes intersect and create a bold, three-dimensional sense of volume and space. Pushing the boundaries of perception, Tour Donas’ fake wood grain is masterly painted in trompe-l'oeil in Femme se coiffant, reminiscent of Picasso and Braque’s groundbreaking experimentations that paved the way for the Section d’Or group.
1919, the year when the present work was painted, was a very active and successful one for Tour Donas. She was given a review in De Stijl as Tour d'Onasky, exhibited at the famed Galerie Der Sturm in Berlin as well as the Section d'Or in London, and was later featured at the Salon des Indépendants in 1920 and 1923. In 1920 she returned to Belgium where she met Van Doesburg in June of that year, the same month a solo exhibition of her work was held at Galerie Der Sturm, further solidifying her reputation as a significant artist of the avant-garde.
In late 1917, Donas travelled south to Nice where she worked in Alexander Archipenko's studio. Through him, she was introduced to and allied herself with the avant-garde artists of Paris, Archipenko’s constructivist compositions proving to be visible influence on her work during that time, as evidenced in the present work. Archipenko said once that Donas was his ‘best pupil’, and indeed, her oeuvre manifests a dynamic assimilation of cubism, where geometric shapes intersect and create a bold, three-dimensional sense of volume and space. Pushing the boundaries of perception, Tour Donas’ fake wood grain is masterly painted in trompe-l'oeil in Femme se coiffant, reminiscent of Picasso and Braque’s groundbreaking experimentations that paved the way for the Section d’Or group.
1919, the year when the present work was painted, was a very active and successful one for Tour Donas. She was given a review in De Stijl as Tour d'Onasky, exhibited at the famed Galerie Der Sturm in Berlin as well as the Section d'Or in London, and was later featured at the Salon des Indépendants in 1920 and 1923. In 1920 she returned to Belgium where she met Van Doesburg in June of that year, the same month a solo exhibition of her work was held at Galerie Der Sturm, further solidifying her reputation as a significant artist of the avant-garde.