Pierre’s ability to listen is such that it allows him to discerne, reveal, and accompany the blossoming ot talents. The special relationship he maintains with the Chateau de Versailles is a noteworthy example. An improvised visit led to the creation of a school. With some stydents in whom he discerned the potential, he reproduced some actual marbles of the chateau, which for him is the “finest school in the world”.
With his students he would “traverse the substance”, make an interior photograph, engrave it in his mind – which is a living memory of all those magnificent marbles and their history – an then reproduce them.
When one questions Pierre Lefumat on his favorite marbles, he evokes the marbles of the Pyrennees ; they are bouquets of flowers, like fireworks, naturally made sculptures and creations. He reproduces the most beautiful of what nature created, adapting, arranging and reinterpreting it.
He speaks very little about techniques. For him, they are at the service of something much more personal, powerful and belonging to the senses. The techniques help the students, they structure their sense of viewing as well as their gestures, but they should be forgotten and integrated, they should serve to enhance an inner creativity. They are a necessary rite of passage, which should be overcome as fast as possible, as he can confirm after training generations of painters.
Jaune de Sienne
Vert de mer
Brèche de Médous jaune
Brèche sanguine d’Algérie
Diaspro giallo venato
Diaspro duro grognolato
Diaspro giallo Agatato turchiniccio
Brèche de Saint-Maximin
Brèche de Bohème
Brèche du Bénou verte
Cipolin sanguin d’Oran
Fleur de pêcher
Diaspro giallo e rosso verdastro
Diaspro giallo venato agatato
Brèche du Bénou jaune et Levanto rouge
Levanto, Brocatelle violette d’Espagne et Blanc veiné
Brèche Médicis et pierre de Paris
Vert de Mer, Rouge du Languedoc et Grand Antique
Sarrancolin d’Antin et Campan rubané
Onyx, Lapis lazuli et Malachite
Campan vert et Jaune de Sienne
Jaune de Sienne et Portor