Czech Cubism developed between 1911 and 1914. It was a contemporary development of functionalism generated by architects and designers in Prague. Fifteen years later, the first concept of cubism itself was written off as a decorative purpose, a replacement of
secessionism and mistaken departure into ‘aestheticism’ 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 Kotěra. Architects such as Josef Chochol and Pavel Janák 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. Pyramid and crystal forms were one of the signature principles seen in Czech Cubism which was incorporated in architecture, furniture, and applied arts. == Exhibitions ==