Russian, born in Briansk in 1890, constructivist sculptor brother Antoni Pevsner. In 1907 he began to paint and draw; in 1910, after a brief stay in Berlin, he settled in Munich, where is enrolled in the Faculty of medicine and later in the natural sciences and engineering; He also attends courses of art history of Wölfflin and reads the work of Worringer. In 1912 visit to his brother, Antoni Pevsner, in Paris, and the next year comes into contact with the Expressionists of the Blaue Reiter in Munich. Spend the war years in Oslo, where meets again with his brother; together they performed their first buildings and thereafter their careers develop in parallel. He returned to Russia at the outbreak of the October revolution and moved to Moscow, sharing a Studio with Pevsner; maintains contacts with Kandinsky, Malevich and Tatlin, in a period of great theoretical discussions. In 1920 he made his first kinetic constructions and words, with Pevsner, the realistic manifesto. In 1922 he is allowed to leave Russia and settled in Berlin, where he participated in the first exhibition of Russian art, organized by the Soviet Government in the Gallery Van Diemen. In the following two years it maintains contact with Weimar's Bauhaus, which invites you to give lectures and to collaborate in the magazine. In 1924 the Russian constructivist exhibition takes place in Paris Percier Gallery: Gabo and Pevsner. Paintings and constructions. A year following is part of the Steering Committee of the November Group. In 1932 he settled in Paris and joins the Group Abstraccion-creacion and in 1939 moved to London and participated in the exhibition of Abstract Art of Gabo, Pevsner, Mondrian and Domela in the Wadsworth Atheneum in Hartford (United States) and Cubism and Abstract Art organized by the Museum of modern art in New York; in 1939 his work is presented in Réalités Nouvelles in Paris.
In 1946 he leaves London and lives in the United States until his death in Middlebury on 1977.Su work is characterized by a constant space research carried out in a scientific manner; He is interested in new industrial materials, especially the transparent, allowing you to build surfaces ruled and developable, elements that appear three-dimensional mathematical equations and allow the exploration of space in its metaphysical sense.
The thirties in the IVAM Collections. Las Palmas de Gran Canaria, Centro Atlántico de Arte Moderno, 1993