Antoine Pevsner

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Pevsner, Antoine

Pevsner, Antoine (äNtwänˈ pyĕvzˈnər), 1886–1962, Russian sculptor and painter. He was influenced by cubism while in Paris in 1911 and 1913. During World War I he was in Norway with his brother Naum Gabo. They returned to Moscow after the Russian Revolution. Pevsner taught at the Moscow academy and associated with avant-garde artists such as Malevich and Tatlin. He and Gabo worked together in 1920 on the manifesto of constructivism. In sculpture Pevsner created constructivist works in bronze and other materials, such as his portrait of Marcel Duchamp (1926; Yale Univ.). His rhythmic, abstract designs intended a new synthesis of the plastic arts. Impending conflict with the regime caused Pevsner to leave the Soviet Union in 1922. The next year he settled in France. Several of his constructions are in the Museum of Modern Art, New York City.


See biography by his brother, Alexi Pevsner (1964).

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References in periodicals archive ?
As the design developed, Calatrava drew inspiration from the linear sculptural constructions of Naum Gabo and the spatial experiments of Antoine Pevsner. The result, however, is unlike the finished work of either of these sculptors in terms of scale or in the way it solves - with an efficient and economic symmetrical plan shape - the need to create a new landmark in a drab environment, and a simple crossing.
The brothers Naum [Pevsner] Gabo (1890 - 1977) and Antoine Pevsner (1886 - 1962) developed Tatlin's ideas of abstract constructions into sculptural experiments with form, space, and motion, making use of contrasting scales and planes, and set forth the movement's principles in the Realist Manifesto (1920).
What was not a surprise was the success of the superbly authoritative Constructivist wall relief sculpture Deux cones dans un meme plan by the Russian-born Antoine Pevsner (Fig.
In his "Realistic Manifesto" of 1920 (cosigned by his brother Antoine Pevsner), Naum Gabo declared, "We do not measure our works with the yardstick of beauty, we do not weigh them with pounds of tenderness and sentiments." But the works on view in this recent show--marvelous late-Cubist heads and space constructions that entangle the viewer in their intricacy--are in fact beautiful and emotionally evocative.