Marie Rakusanova is associate professor of art history at Charles University, Prague. Phil Jones is a translator of Czech into English. Daniel Morgan is a translator of Czech into English.

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• I. Introduction (Marie Rakušanová)II. Map: Kubišta and EuropeIII. Kubišta and the World: Reality Mediated by Objects (Marie Rakušanová)IV. Map: Kubišta in FlorenceV. Florence: Objects, Territories and Topographies (Marie Rakušanová – Eva Bendová)VI. Map: Kubišta in PragueVII. The First Osma Exhibition (Marie Rakušanová – Mahulena Nešlehová)VIII. The Concept of Colour in the Work of Bohumil Kubišta (Mahulena Nešlehová)IX. The Second Exhibition of the Osma Group (Marie Rakušanová – Mahulena Nešlehová)X. Kubišta’s French Connections: Networks, Reception, Ideals (Françoise Lucbert)XI. Map: Kubišta in ParisXII. Kubišta and the Social Topography of Paris: 1909–1910 (Marie Rakušanová)XIII. Inspirations Drawn from Kubišta’s Stay in Paris (Mahulena Nešlehová)XIV. Map: The Movement of Kubišta’s Works through EuropeXV. Bohumil Kubišta and Germany (Anke Daemgen)XVI. Kubišta, Ethics, Dietetics, the Psychology of Vision, Spirituality and Monism (Marie Rakušanová)XVII. The Will to Spirituality and Its Influence on the Composition of Kubišta’s Works (Mahulena Nešlehová)XVIII. The Concept of Geometric Infrastructure in the Work of Kubišta and the Section d’Or (Mahulena Nešlehová)XIX. Kubišta’s Paradoxical Cubism: 1912–1913 (Marie Rakušanová)XX. Bohumil Kubišta, Cubism and Hungary (András Zwickl)XXI. Kubišta – Futurist, Cubist, Expressionist in Lviv in 1913 (Marie Rakušanová)XXII. Moderní umení, the 45th Exhibition of the Mánes Association of Fine Artists – “The Most Comprehensive Exhibition” in the “Whole World”? (Marie Rakušanová)XXIII. Map: Kubišta in PulaXXIV. A View through the Cannon Barrel: Bohumil Kubišta in Pula, 1905–1906, 1913–1918 (Eva Bendová)XXV. Indications of Kubišta’s New Programme (Mahulena Nešlehová)XXVI. Conclusion (Marie Rakušanová)XXVII. Timeline and Documentary SectionXXVIII. NotesXXIX. Abbreviation ListXXX. SourcesXXXI. Inventory of PaintingsXXXII. Index of Names

Marie Rakusanova is associate professor of art history at Charles University, Prague. Phil Jones is a translator of Czech into English. Daniel Morgan is a translator of Czech into English.

Select Guide Rating

• I. Introduction (Marie Rakušanová)II. Map: Kubišta and EuropeIII. Kubišta and the World: Reality Mediated by Objects (Marie Rakušanová)IV. Map: Kubišta in FlorenceV. Florence: Objects, Territories and Topographies (Marie Rakušanová – Eva Bendová)VI. Map: Kubišta in PragueVII. The First Osma Exhibition (Marie Rakušanová – Mahulena Nešlehová)VIII. The Concept of Colour in the Work of Bohumil Kubišta (Mahulena Nešlehová)IX. The Second Exhibition of the Osma Group (Marie Rakušanová – Mahulena Nešlehová)X. Kubišta’s French Connections: Networks, Reception, Ideals (Françoise Lucbert)XI. Map: Kubišta in ParisXII. Kubišta and the Social Topography of Paris: 1909–1910 (Marie Rakušanová)XIII. Inspirations Drawn from Kubišta’s Stay in Paris (Mahulena Nešlehová)XIV. Map: The Movement of Kubišta’s Works through EuropeXV. Bohumil Kubišta and Germany (Anke Daemgen)XVI. Kubišta, Ethics, Dietetics, the Psychology of Vision, Spirituality and Monism (Marie Rakušanová)XVII. The Will to Spirituality and Its Influence on the Composition of Kubišta’s Works (Mahulena Nešlehová)XVIII. The Concept of Geometric Infrastructure in the Work of Kubišta and the Section d’Or (Mahulena Nešlehová)XIX. Kubišta’s Paradoxical Cubism: 1912–1913 (Marie Rakušanová)XX. Bohumil Kubišta, Cubism and Hungary (András Zwickl)XXI. Kubišta – Futurist, Cubist, Expressionist in Lviv in 1913 (Marie Rakušanová)XXII. Moderní umení, the 45th Exhibition of the Mánes Association of Fine Artists – “The Most Comprehensive Exhibition” in the “Whole World”? (Marie Rakušanová)XXIII. Map: Kubišta in PulaXXIV. A View through the Cannon Barrel: Bohumil Kubišta in Pula, 1905–1906, 1913–1918 (Eva Bendová)XXV. Indications of Kubišta’s New Programme (Mahulena Nešlehová)XXVI. Conclusion (Marie Rakušanová)XXVII. Timeline and Documentary SectionXXVIII. NotesXXIX. Abbreviation ListXXX. SourcesXXXI. Inventory of PaintingsXXXII. Index of Names

Marie Rakusanova is associate professor of art history at Charles University, Prague. Phil Jones is a translator of Czech into English. Daniel Morgan is a translator of Czech into English.

Select Guide Rating

• I. Introduction (Marie Rakušanová)II. Map: Kubišta and EuropeIII. Kubišta and the World: Reality Mediated by Objects (Marie Rakušanová)IV. Map: Kubišta in FlorenceV. Florence: Objects, Territories and Topographies (Marie Rakušanová – Eva Bendová)VI. Map: Kubišta in PragueVII. The First Osma Exhibition (Marie Rakušanová – Mahulena Nešlehová)VIII. The Concept of Colour in the Work of Bohumil Kubišta (Mahulena Nešlehová)IX. The Second Exhibition of the Osma Group (Marie Rakušanová – Mahulena Nešlehová)X. Kubišta’s French Connections: Networks, Reception, Ideals (Françoise Lucbert)XI. Map: Kubišta in ParisXII. Kubišta and the Social Topography of Paris: 1909–1910 (Marie Rakušanová)XIII. Inspirations Drawn from Kubišta’s Stay in Paris (Mahulena Nešlehová)XIV. Map: The Movement of Kubišta’s Works through EuropeXV. Bohumil Kubišta and Germany (Anke Daemgen)XVI. Kubišta, Ethics, Dietetics, the Psychology of Vision, Spirituality and Monism (Marie Rakušanová)XVII. The Will to Spirituality and Its Influence on the Composition of Kubišta’s Works (Mahulena Nešlehová)XVIII. The Concept of Geometric Infrastructure in the Work of Kubišta and the Section d’Or (Mahulena Nešlehová)XIX. Kubišta’s Paradoxical Cubism: 1912–1913 (Marie Rakušanová)XX. Bohumil Kubišta, Cubism and Hungary (András Zwickl)XXI. Kubišta – Futurist, Cubist, Expressionist in Lviv in 1913 (Marie Rakušanová)XXII. Moderní umení, the 45th Exhibition of the Mánes Association of Fine Artists – “The Most Comprehensive Exhibition” in the “Whole World”? (Marie Rakušanová)XXIII. Map: Kubišta in PulaXXIV. A View through the Cannon Barrel: Bohumil Kubišta in Pula, 1905–1906, 1913–1918 (Eva Bendová)XXV. Indications of Kubišta’s New Programme (Mahulena Nešlehová)XXVI. Conclusion (Marie Rakušanová)XXVII. Timeline and Documentary SectionXXVIII. NotesXXIX. Abbreviation ListXXX. SourcesXXXI. Inventory of PaintingsXXXII. Index of Names