La Maison Cubiste

Paintings by Albert Gleizes, Jean Metzinger, Marie Laurencin, Marcel Duchamp, Fernand Léger and Roger de La Fresnaye were hung in the salon.

[8] While the facade and paintings in the installation were inspired by cubism, the decoration of the interior, by André Mare, was also one of the first important examples of Art Deco.

The decoration featured bright colors and floral patterns, particularly stylized garlands and bouquets of roses, which became one of the major themes of early Art Deco.

The fame of the Maison Cubiste launched the career of Mare; after the First World War, he co-founded a design company, the Compagnie des arts Francais, with Louis Suë.

The critic Emile Sedeyn described Mare's work in the magazine Art et Décoration: "He does not embarrass himself with simplicity, for he multiplies flowers wherever they can be put.

Essentially independent, necessarily complete, it need not immediately satisfy the mind: on the contrary, it should lead it, little by little, towards the fictitious depths in which the coordinative light resides.

It does not harmonize with this or that ensemble; it harmonizes with things in general, with the universe: it is an organism..."[18][5] "Mare's ensembles were accepted as frames for Cubist works because they allowed paintings and sculptures their independence", wrote Christopher Green, "creating a play of contrasts, hence the involvement not only of Gleizes and Metzinger themselves, but of Marie Laurencin, the Duchamp brothers (Raymond Duchamp-Villon designed the facade) and Mare's old friends Léger and Roger La Fresnaye".

[5] For the occasion, an article entitled Au Salon d'Automne "Les Indépendants" was published in the French newspaper Excelsior, 2 Octobre 1912.

With the freedom that this order gives to individual development and with its possibilities of expansion to make it suit the largest building as well as the smallest, it seems to clearly fix the type of our ideal.

Thanks largely to the popularity of the exposition, the term "Cubist" began to be applied to anything modern, from women's haircuts to clothing to theater performances.

No buildings like the Cubist House were built in France, but the model did have an impact in Czechoslovakia (now the Czech Republic) then part of the Austro-Hungarian Empire, where architects wanted to show their independence from the Viennese style.

Janák redid the baroque facade by adding angular geometric forms similar to those on the model of the cubist house in Paris.