First World War 1914-1918 (≈ 1916)
Historical context of the monument, 8 million dead.
1921
First drawings
First drawings 1921 (≈ 1921)
Paul Dardé presents the initial sketches.
1924
Completion of sculpture
Completion of sculpture 1924 (≈ 1924)
Made in the studio of Lodève.
1927
Conclusion of work
Conclusion of work 1927 (≈ 1927)
Inauguration after financial delay.
29 mars 2005
Registration for historical monuments
Registration for historical monuments 29 mars 2005 (≈ 2005)
Official heritage recognition.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
The monument to the dead in its entirety, including the parcel of the square of General de Gaulle (Box BP 152): classification by order of 29 March 2005
Key figures
Paul Dardé - Sculptor
Author of the monument, known for its provocative approach.
Origin and history
The Monument to the Dead of Clermont-l'Hérault, made by sculptor Paul Dardé, is located in the eponymous commune of the department of l'Hérault, in the Occitanie region. Dating from the first half of the 20th century, it consists of a cenotaph housing a lying guarded by a naked woman with a mysterious smile, evoking a dancer of the 1920s. This bold representation, interpreted as a provocation or revolt against the horrors of the First World War (1914-1918), reflects Dardé's artistic sensitivity, known for his pacifist positions. The conflict, the first to involve massively nations around the world, had caused more than 8 million deaths and 6 million invalids, deeply marking European societies.
The first sketches of the monument were presented by Paul Dardé as early as 1921, but his realization stowed until 1924 in his studio in Lodève, with delays due to financial difficulties. The work was completed only in 1927, including grids designed after his drawings. This monument, unique by its iconography, was included in the inventory of historical monuments on 29 March 2005, thus recognizing its heritage and artistic value.
The work is part of a post-Great War context where monuments to the dead flourished in France to honor the victims. Clermont-l'Hérault's approach, however, is unconventional, combining pain and social criticism. The female figure, often seen as an allegory of life or resilience, contrasts with the usual solemnity of these buildings, highlighting the complexity of the emotions associated with this collective mourning.
