THE LUME Melbourne invites you on a spellbinding journey through the vibrant world of French Impressionism. Daring, intriguing and uplifting, much like the works of the Impressionists themselves in their day, Monet & Friends compels you to leave the world behind as you step inside this fascinating period of modern art.

Through THE LUME Melbourne's state-of-the-art technology, we examine the world of the French Impressionists through a journey of three movements, accompanied by a musical score echoing the mood and emotions of the time.

Metropolitan: 19th-Century Paris was a rapidly changing hub of creativity and innovation. The newly-bohemian city culture brought people together to enjoy the vibrant metropolitan lifestyle – a transformation which did not go unnoticed by the radical Impressionist artists of the time.

Their unconventional choice of subject was a marked departure from the traditional European style favoured by the art establishment, which often featured realistic images of historical subjects, religious themes, and portraits. The Impressionists’ paintings depicted ordinary people in candid scenes from everyday life, creating an enduring record of one of Paris’ most exciting eras.

A Day in the Life: 19th-century France would have been a fascinating place. As Paris became a vibrant hub of activity and culture, the Impressionists sought to record everyday life on canvas. Domestic scenes, leisure activities, working life and social interaction were typical subjects for Impressionist painters.

The artists broke new ground by capturing the moments they saw and sensed with fast, bold brushstrokes, often depicting ordinary people doing ordinary things. Their paintings were rarely staged, instead resembling a specific snapshot in time.

These everyday scenes would have previously been overlooked as subjects unworthy of painting. In committing them to canvas the Impressionists immortalised the new Parisian modernity, and thank goodness they did.

En Plein Air: The desire and the ability for painters to work outdoors, or ‘en plein air’, was revolutionary at the time. Traditionally, paintings were produced in a studio, and painted in such a way as to make them appear detailed, realistic, with as little evidence as possible that the image was created with paints and brushes.

This all changed with the Impressionists. They wanted to record the ‘sensation’ of the scene as they saw it in that given moment. The inclination to paint outdoors meant they needed to work quickly, using bold brushstrokes, thick paint applications and strong, contrasting colours to capture exactly what they saw – whether it be light reflecting on the water or the bright city lights illuminating the Parisian nightlife.

The Impressionists’ passion and ability to paint ‘en plein air’ brought us many of the masterpieces we revere today.

This project uses spectacular satellite images of clouds to highlight the importance of clouds to climate. Rendering images using both visible and infrared light, the project visualises parts of the atmosphere that are invisible to the human eye. It is a unique combination of art, science and the Earth, showing how now more than ever, it is crucial that we all have our heads in the clouds.

Created by visualising and sonifying massive data-sets, Ghost Trees brings to life the endangered Rushworth Forest, (Victoria, Australia) in the lands of the Ngurai-illam-wurrung people. These data-sets are ephemeral yet fixed recordings of dying ecosystems; digital memories of disappearing landscapes, echoes of our lost environment. We take the viewpoint of someone within the landscape and from within the limbs of the trees - we become part of the organism. Location recordings are studied and processed to reveal the musicality of the forest and its inhabitants. Melodic elements are generated from spatial data points - the forest is singing.

Wander through a magical world of glowing creatures evolving through a liquid fractal environment. Artist Andy Thomas, who has created concert visuals for musicians such as Bjork and Empire of the Sun, brings to life a stunning journey inspired by one of Earth’s greatest natural wonders, bioluminescence. Swim through underwater aquatic worlds into deep dark forests inhabited by abstract plants and animals, all timed to the mysterious ambient soundscapes of GMJ and Matter.

Oil on canvas
65.8 x 81.5 cm
Trinity House Gallery, London

Guillaumin is, perhaps, the least renowned of the Impressionists. He came from an unremarkable family and worked for the French Government in the bridges and highways department.

During his early career, Guillaumin found he could not live on the money he made from his paintings. Then, in 1891, Guillaumin won 100,000 francs in the state lottery. He quit his day job to concentrate on painting full time.

Guillaumin died in 1927 at the age of 86. While Guillaumin never achieved the fame of his Impressionist friends, he unquestionably had a significant influence on their work.

Oil on canvas
58.7 x 81.6 cm
The Clark, Massachusetts

Like many artists, Sisley found it difficult to sell his paintings. Sisley initially received financial help, but when his father’s business failed, Sisley needed to support himself. Sadly, Sisley’s paintings would not become valuable until after his death and he lived most of his life in poverty.

One of Sisley’s paintings has been stolen on no less than three occasions – once in 1978 when it was later found in a sewer. It was stolen again in 1998 by staff at the museum where it was on display. And finally, in 2007, when it was eventually recovered from a van in Marseilles.

Oil on canvas
116 x 166 cm
Musée d’Orsay, Paris

Henri-Edmond-Joseph Delacroix changed his name twice – first to Henri Cross to distinguish him from the painter Eugène Delacroix and, finally, to Henri-Edmond Cross to avoid confusion with Henri Cros.

He did not immediately adopt Impressionist techniques, but eventually, his paintings became more reminiscent of the Impressionists’ brighter style. Cross also began working outside ‘en plein air’, painting landscapes bearing the influences of Monet and Pissarro.

By the early 1900s Cross’ eyesight had deteriorated and he suffered from arthritis. In 1909 he was diagnosed with cancer and died in May the following year.

Oil on canvas
73.5 x 92.5 cm
Museum of Modern Art, New York

At age 18, after visiting a Monet exhibition, Paul Signac knew he wanted to be a painter.

His paintings sold well, and for many years, Signac was moved to donate substantial amounts of money to the art world. He promoted and encouraged many young artists by exhibiting their work until he died in 1935, aged 71.

In 2010 a lost Signac painting was discovered in a hotel in Holland which was hosting an exhibition of Signac’s work. Signac had used the painting to pay for his stay there in 1894.

The painting was later valued at £100,000.

Oil on canvas
207.5 x 308 cm
Art Institute of Chicago, USA

In 1879 Seurat visited the 4th Impressionist Exhibition and was enthralled by the work of Monet and Pissarro. The experience had a profound effect on Seurat’s painting.

Seurat developed a painting style which came to be known as Pointillism, consisting of tiny dots or brushstrokes which, when viewed from afar, created a picture. Although many artists adopted the style, Seurat is best known for pioneering its use.

While he still worked in the Impressionist style, Seurat also deviated from the Impressionists’ protocols by painting in his studio using sketches as reference.

Oil on canvas
88 x 128.5 cm
National Gallery of Art, Washington

Despite her enthusiasm to study art, Mary Stevenson Cassatt was annoyed by the sexism she endured from male teachers and students. Instead, Cassatt decided to teach herself.

She enjoyed early career success being one of the first two women ever to be accepted to exhibit at the Salon, the most prestigious art exhibition of the era.

Cassatt became a supporter of equal rights for women. While her paintings were not overtly political, she often painted women and their children, always seeking to depict the dignified and meaningful lives women lived.

Cassatt died in 1926.

Oil on canvas
212 x 276cm
The Art Institute of Chicago, USA

Although an accomplished painter in his own right, Caillebotte’s reputation was overshadowed by his work as a supporter of the arts.

Caillebotte’s wealth not only allowed him to paint without the pressure to sell his work, it also enabled him to support his fellow artists. Caillebotte funded exhibitions, purchased paintings from Impressionist artists to support their careers, and even paid rent for Monet’s studio.

Caillebotte died in 1894. In his will he left his collection to the French Government, including dozens of paintings by Monet, Pissarro, Renoir, Sisley, Degas, Cézanne, and Manet.

Oil on canvas
45.7 x 75.2 cm
The National Gallery, London

Being one of only a few female artists, Morisot’s work was often demeaned by male critics.

Despite this criticism, Morisot was accepted to exhibit her work at the prestigious Salon de Paris. In critical reviews following an exhibition in 1880, many judged Morisot’s work to be among the very best on display.

Morisot wrote about her struggles to be taken seriously, “I don’t think there has ever been a man who treated a woman as an equal and that’s all I would have asked for, for I know I’m worth as much as they.”

Oil on canvas
115.6 x 149.9 cm
Philadelphia Museum of Art, USA

Modern physicians attribute Toulouse-Lautrec’s disability to a genetic disorder, caused by his aristocratic family’s history of inbreeding.

As well as his fame as a painter, Toulouse-Lautrec was also infamous for his hedonistic lifestyle. His walking cane was hollowed out and filled with liquor, and he was also known to frequent prostitutes, often depicting them in his work.

By 1899 Toulouse-Lautrec’s alcoholism was worsening and, following a collapse, he was committed to hospital. After his release his mental and physical health declined rapidly, compounded by the effects of syphilis.

He died in 1901, aged 36.

Oil on canvas
210.5 x 250.8 cm
Philadelphia Museum of Art, USA

Cézanne’s shy nature, sensitivity and subsequent rudeness meant his friendships with the Impressionists didn’t come easily. It fell toPissarro to smooth the way and to mentor Cézanne in the artistic techniques which became distinctive of Impressionism.

Sadly, Cézanne’s attempts at friendship were to no avail. By the late 1870s, he had lost touch with most of his Parisian friends, and he became isolated and obsessed with his work.

In 1906, Cézanne was caught in a storm while working outside. He died of pneumonia two days later at the age of 67.

Oil on canvas
83.5 x 77.2 cm
The Metropolitan Museum of Art, New York

While often described as an Impressionist, Degas disliked the name immensely, preferring instead to be called a Realist.

Degas believed he had little in common with the Impressionists. He was critical of their techniques and mocked their inclination to paint outdoors, which he apparently never did himself.

Over time, Degas became increasingly isolated, believing a painter could have no life outside their art. His argumentative nature eventually pushed his friends away.

Degas stopped painting in 1912 and spent his final years almost blind, roaming the streets of Paris. He died in 1917.

Oil on canvas
130 x 175.6 cm
The Phillips Collection, Washington

Renoir’s early career wasn’t easy and he was often too poor to buy paint. But, by the late 1860s, he had carved a reputation and become a successful artist.

With his financial situation improved, Renoir was able to experiment with his art. Several journeys around Europe had a significant effect on his style and subsequently directed him away from the Impressionist movement.

The first sign of rheumatism came in 1894 and Renoir’s hands became increasingly deformed. When asked why he continued to paint, despite the discomfort, Renoir replied, “The pain passes, but the beauty remains.”

Oil on canvas
73 x 92 cm
National Gallery of Victoria, Melbourne

Pissarro is often called ‘The Father of Impressionism’.

Upon returning home from London after the Franco-Prussian War, Pissarro found that many of his paintings had been destroyed by soldiers who had used them to clean their boots. Of the 1,500 paintings he left behind, only 40 remained.

By the 1880s, Pissarro had become disillusioned with Impressionism and began to explore new techniques. With Pissarro no longer active in the movement, Impressionism fell into decline.

Pissarro died in 1903. He sold few paintings during his career and spent much of his life in poverty.

Oil on canvas
96 x 130 cm
Courtauld Institute of Art, London

While many Impressionist artists considered him their leader, Manet’s paintings weren’t entirely consistent with the Impressionist style. Most impressionists avoided using black paint, but Manet used black liberally.

Neither did Manet participate in the Impressionist exhibitions, instead submitting his work to the Salon – a more established event. Nevertheless, Manet’s paintings were often rejected and criticised.

Manet’s private life was equally controversial. In 1863 he married his piano teacher, who was also rumoured to have been his father’s mistress.

Manet died in 1883 from conditions believed to be caused by syphilis.

Oil on canvas
88.3 x 93.1 cm
The National Gallery, London

Monet’s wealthy father did not support his son’s artistic aspirations. While he could have paid to have his son exempted from military service, he would not do so unless Monet gave up painting. Thankfully, Monet refused and served in the military for seven years.

Monet later studied art in Paris, where he met several like-minded artists. Together they developed the style of painting which would become known as Impressionism.

Indeed, it was one of Monet’s paintings which gave a name to the style. His picture, Impression, Sunrise, was mocked by an art critic who used the description ‘Impressionism’ in a review, intending it as disapproval. Instead of being offended, the Impressionist painters adopted the term for themselves.

Monet died on December 5, 1926. At the funeral his friend Georges Clemenceau removed the black cloth which covered the coffin, stating “No black for Monet!”

Today, Monet’s house and his famous waterlilies garden are major tourist attractions, welcoming visitors from all over the world.

Vincent van Gogh’s work is both spectacular and intimately revealing.

In a career that lasted only ten years, his painting styles shifted continuously to expose a volatile and changeable state of mind. Through THE LUME’s technology, we examine Van Gogh’s life and paintings through a journey of five movements, accompanied by a musical score echoing his experiences and emotions at the time.

The Netherlands: Vincent’s work during this period is stylistically dark, contrasting the vibrant style that would emerge in the years to come.

Paris: Inspired by the energy of Impressionist-era Paris, Vincent develops a brighter palette as his work transitions to the celebrated style for which he is best known.

Arles: Van Gogh’s time in this Southern-French region was perhaps the happiest of his life – for a time. However, this movement also exhibits Vincent’s decline into mental illness.

Saint-Rémy: During his voluntary commitment to the asylum at Saint-Rémy, Vincent produces both tortured and peaceful landscapes, teetering between crisis and control.

Auvers-sur-Oise: Van Gogh’s sense of emptiness is palpable in his haunting final works, offering a candid insight into the artist’s emotional turmoil in his final days.

Self-portraits: A series of self-portraits painted throughout Vincent’s career bookend the five movements of the experience, reflecting the changing emotional states of this brilliant yet troubled artist.

Vincent van Gogh’s work is both spectacular and intimately revealing.

In a career that lasted only ten years, his painting styles shifted continuously to expose a volatile and changeable state of mind. Through THE LUME’s technology, we examine Van Gogh’s life and paintings through a journey of five movements, accompanied by a musical score echoing his experiences and emotions at the time.

The Netherlands: Vincent’s work during this period is stylistically dark, contrasting the vibrant style that would emerge in the years to come.

Paris: Inspired by the energy of Impressionist-era Paris, Vincent develops a brighter palette as his work transitions to the celebrated style for which he is best known.

Arles: Van Gogh’s time in this Southern-French region was perhaps the happiest of his life – for a time. However, this movement also exhibits Vincent’s decline into mental illness.

Saint-Rémy: During his voluntary commitment to the asylum at Saint-Rémy, Vincent produces both tortured and peaceful landscapes, teetering between crisis and control.

Auvers-sur-Oise: Van Gogh’s sense of emptiness is palpable in his haunting final works, offering a candid insight into the artist’s emotional turmoil in his final days.

Self-portraits: A series of self-portraits painted throughout Vincent’s career bookend the five movements of the experience, reflecting the changing emotional states of this brilliant yet troubled artist.

Vincent van Gogh’s work is both spectacular and intimately revealing.

In a career that lasted only ten years, his painting styles shifted continuously to expose a volatile and changeable state of mind. Through THE LUME’s technology, we examine Van Gogh’s life and paintings through a journey of five movements, accompanied by a musical score echoing his experiences and emotions at the time.

The Netherlands: Vincent’s work during this period is stylistically dark, contrasting the vibrant style that would emerge in the years to come.

Paris: Inspired by the energy of Impressionist-era Paris, Vincent develops a brighter palette as his work transitions to the celebrated style for which he is best known.

Arles: Van Gogh’s time in this Southern-French region was perhaps the happiest of his life – for a time. However, this movement also exhibits Vincent’s decline into mental illness.

Saint-Rémy: During his voluntary commitment to the asylum at Saint-Rémy, Vincent produces both tortured and peaceful landscapes, teetering between crisis and control.

Auvers-sur-Oise: Van Gogh’s sense of emptiness is palpable in his haunting final works, offering a candid insight into the artist’s emotional turmoil in his final days.

Self-portraits: A series of self-portraits painted throughout Vincent’s career bookend the five movements of the experience, reflecting the changing emotional states of this brilliant yet troubled artist.