Antoine Pevsner “The Anchored Cross” (La Croix Anchrée) at the Peggy Guggenheim Collection in Venice

Sculpture - Marble, Painted Copper and Crystal (84.6 cm diagonally) 1933

The Anchored Cross As a Constructivist, Antoine Pevsner considered that space's perception and representation depended more on depth than volume. He rejected the idea of "mass" as the fundamental element of sculpture.

According to constructivist theory, the direction and establishment of kinetic paces create the line's dynamics.

To amplify the power of the desired representation, modern and even industrial materials are necessary. So Pevsner explained:

“The plumb line is in our hands, the eye as precise as a rule, in a spirit as accurate as a compass [...]
We build our work in the same way as the universe builds his own, as the engineer builds his bridges, as the mathematician establishes his formula about orbits.”
Antoine Pevsner

According to Mady Ménier, a specialist in contemporary art:

“The Anchored Cross strongly merges the irrefutable fullness of marble and copper and the transparency of the crystal, in it, the full ones are reintroduced by opaque surfaces, which ultimately oppose the transparency of the crystal whereby emptiness is evoked, as mimed.”
Mady Ménier

The Anchored Cross Pevsner used the term constructor realism.

“A work of constructivist art is by no means an abstraction.

We do not detach ourselves from nature, but, on the contrary, we penetrate it more profound than naturalistic art was ever able to do it.”
Antoine Pevsner

In 1933, the date of the work on display at the Peggy Guggenheim Museum, Pevsner said:

“While there is still an external similarity between technical creation and that of an art construction, the former helps us calculate the disturbances of planetary mechanics, while the other allows us to update the hidden forces of Nature.”
Antoine Pevsner