The focus of this paper is the early development stage of Cubist movement, which had its apogee between 1907 and 1914. The main formal feature of interest in the paper will be the Cubist deconstruction of reality, whose purpose is to understand more thoroughly reality's general structure and inner consistency. This was the main tenet of both Braque and Picasso, the movements's most distinguished members. Art of the period is a witness of similar preoccupations which often yielded identical results. Aiming to create a new visual order, two artists inherited the formal aspects of Cézanne, Seurat and non-western art as a means of comprehending true reality, unburdened by the objective requirements of western art. Their working process included the introduction of multiple points of view, the geometrization of the objects and space in order to structurally deconstruct reality and reconstruct it again. In the development stages of Cubism they tried to capture the forms of objects from all possible points of view and give the observer its all-encompassing depiction. By doing so, they formed the first movement to reject the conception of linear perspective which was prevalent since the Renaissance. Cubists believed that the experience of the outside world originates from our consciousness, rather than from the world itself. This belief distanced them from immediate realism and enabled further research in the field of abstraction.