Vote on draft 12 octobre 1924 (≈ 1924)
Municipal decision for the monument.
2 octobre 1927
Inauguration solemn
Inauguration solemn 2 octobre 1927 (≈ 1927)
Official ceremony of the monument.
1ère moitié XXe siècle
Construction period
Construction period 1ère moitié XXe siècle (≈ 2007)
Context of the inter-war period.
13 mars 2019
Registration for historical monuments
Registration for historical monuments 13 mars 2019 (≈ 2019)
National Heritage Protection.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
The monument to the dead with its fence located church square (no cadastral box): inscription by decree of 13 March 2019
Key figures
Joseph-Maurice Grandet - Sculptor
Author of bronzes (sword, palm, statue).
Vergnes - Architect
Designer of the monument.
Delfour - Entrepreneur
Responsible for the work.
Chaux - Entrepreneur
Construction worker.
Origin and history
The monument to the dead of Pierrefort, located in Auvergne-Rhône-Alpes, was voted on 12 October 1924 and inaugurated on 2 October 1927. Placed on the Church Square, it is bounded by a cement wall and terminals, with a rear reinforced concrete structure concealing a elevation. This project reflects the communal desire to pay tribute to the victims of the First World War, within a solemn framework integrated into the urban landscape.
The monument is distinguished by its architectural simplicity, with a central stone body flanked by two massives bearing the dates of the conflict and the names of the victims engraved in red. The bronze works, made by sculptor Joseph-Maurice Grandet, include a garland sword, a palm of martyr, two bas-reliefs (Marianne and a hairy), and a sommital statue depicting a grieving peasant woman. The latter, offered by the Pierrefortais emigrated to Paris, embodies a collective pain with poignant realism, reinforcing the emotional impact of the monument.
Pierrefort's Monument to the Dead has been listed as a historical monument since March 13, 2019. This classification underscores its heritage value, both for its sober architecture and for its sculptural elements, which bear witness to the commemorative art of the inter-war period. The collaboration between Joseph-Maurice Grandet, a student of Denys Puech, and the local artisans (architect Vergnes, entrepreneurs Delfour and Chaux) helped create an artistic and symbolic work, rooted in local history.
The figure of the crying woman, the focal point of the monument, offers a naturalistic representation of mourning, with a knee on the ground on faded laurels and the other supporting her body in a posture of despair. This duality evokes both the homage to the missing and the uncertainty of the future. The lateral bas-reliefs, signed and dated by Grandet, recall his artistic heritage, including his earlier collaboration with Denys Puech for the monument to the dead of Mur-de-Barrez (Aveyron).
