The first signs of Czech cubism came to be after 1912. It was a contemporary development of functionalism generated by architects and designers in Prague. Fifteen years prior, the first concept of cubism itself was written off as a decorative purpose, a replacement of secessionism and mistaken departure into ‘aesthetictism’ and ‘individualism’. On the contrary, it was a revolt against traditional values of realism.
Czech cubism was first conceal by the Modern Movement and masked by the aesthetic dictates of Stalinist and post-Stalinist culture in Czechoslovakia. After the Velvet Revolution of 1989 and the post modern attraction of ornamentation and decoration, there came to be a rise of fascination in Czech culture and its own unique forms of cubism. Czech cubism developed paradoxically as both a product of Czech bourgeois affluence and as an avant-garde rejection of secessionist designers such as Otto Wagner and Jan Kotera. Architects such as Josef Chochol and Pavel Janak devised spiritualist philosophies of design and a dynamic ideal of planar form derived from cubist art. As Cubism spread across the European continent in the early 20th century, its greatest impact can be seen today in the Czech Republic.
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