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Auguste and Louis Lumière
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Auguste and Louis Lumière
The Lumière brothers (UK: /ˈluːmiɛər/, US: /ˌluːmiˈɛər/; French: [lymjɛːʁ]), Auguste Marie Louis Nicolas Lumière (19 October 1862 – 10 April 1954) and Louis Jean Lumière (5 October 1864 – 6 June 1948), were French manufacturers of photography equipment, best known for their Cinématographe motion picture system and the short films they produced between 1895 and 1905, which places them among the earliest filmmakers.
Their screening of a single film on 22 March 1895, for around 200 members of the Société d'encouragement pour l'industrie nationale (Society for the Development of the National Industry) in Paris was probably the first presentation of projected film. Their first commercial public screening on 28 December 1895, for around 40 paying visitors and invited relations has traditionally been regarded as the birth of cinema.
The Lumière brothers were born in Besançon, France, to Charles-Antoine Lumière (1840–1911) and Jeanne Joséphine Costille Lumière, who were married in 1861 and moved to Besançon, setting up a small photographic portrait studio. Here were born Auguste, Louis and their daughter Jeanne. They moved to Lyon in 1870, where their two other daughters were born: Mélina and Francine. Auguste and Louis both attended La Martiniere, the largest technical school in Lyon.
They patented several significant processes leading up to their film camera, most notably film perforations (originally implemented by Émile Reynaud) as a means of advancing the film through the camera and projector. The original cinématographe had been patented by Léon Guillaume Bouly on 12 February 1892. The cinématographe — a three-in-one device that could record, develop, and project motion pictures — was further developed by the Lumières. The brothers patented their own version on 13 February 1895.
The date of the recording of their first film is in dispute. In an interview with Georges Sadoul given in 1948, Louis claimed that he shot the film in August 1894 – before the arrival of the kinetoscope in France. This is questioned by historians, who consider that a functional Lumière camera did not exist before the beginning of 1895.
The Lumière brothers saw film as a novelty and had withdrawn from the film business by 1905. They went on to develop the first practical photographic colour process, the Lumière Autochrome.
Louis died on 6 June 1948, and Auguste on 10 April 1954. They are buried in a family tomb in the New Guillotière Cemetery in Lyon.
On 22 March 1895, in Paris, at the Society for the Development of the National Industry, in front of a small audience, one of whom was said to be Léon Gaumont, then director of the company Comptoir Géneral de la Photographie, the Lumières privately screened a single film, Workers Leaving the Lumière Factory. The main focus of the conference by Louis concerned the recent developments in the photographic industry, mainly the research on polychromy (colour photography). It was much to Lumière's surprise that the moving black-and-white images retained more attention than the coloured stills.
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Auguste and Louis Lumière
The Lumière brothers (UK: /ˈluːmiɛər/, US: /ˌluːmiˈɛər/; French: [lymjɛːʁ]), Auguste Marie Louis Nicolas Lumière (19 October 1862 – 10 April 1954) and Louis Jean Lumière (5 October 1864 – 6 June 1948), were French manufacturers of photography equipment, best known for their Cinématographe motion picture system and the short films they produced between 1895 and 1905, which places them among the earliest filmmakers.
Their screening of a single film on 22 March 1895, for around 200 members of the Société d'encouragement pour l'industrie nationale (Society for the Development of the National Industry) in Paris was probably the first presentation of projected film. Their first commercial public screening on 28 December 1895, for around 40 paying visitors and invited relations has traditionally been regarded as the birth of cinema.
The Lumière brothers were born in Besançon, France, to Charles-Antoine Lumière (1840–1911) and Jeanne Joséphine Costille Lumière, who were married in 1861 and moved to Besançon, setting up a small photographic portrait studio. Here were born Auguste, Louis and their daughter Jeanne. They moved to Lyon in 1870, where their two other daughters were born: Mélina and Francine. Auguste and Louis both attended La Martiniere, the largest technical school in Lyon.
They patented several significant processes leading up to their film camera, most notably film perforations (originally implemented by Émile Reynaud) as a means of advancing the film through the camera and projector. The original cinématographe had been patented by Léon Guillaume Bouly on 12 February 1892. The cinématographe — a three-in-one device that could record, develop, and project motion pictures — was further developed by the Lumières. The brothers patented their own version on 13 February 1895.
The date of the recording of their first film is in dispute. In an interview with Georges Sadoul given in 1948, Louis claimed that he shot the film in August 1894 – before the arrival of the kinetoscope in France. This is questioned by historians, who consider that a functional Lumière camera did not exist before the beginning of 1895.
The Lumière brothers saw film as a novelty and had withdrawn from the film business by 1905. They went on to develop the first practical photographic colour process, the Lumière Autochrome.
Louis died on 6 June 1948, and Auguste on 10 April 1954. They are buried in a family tomb in the New Guillotière Cemetery in Lyon.
On 22 March 1895, in Paris, at the Society for the Development of the National Industry, in front of a small audience, one of whom was said to be Léon Gaumont, then director of the company Comptoir Géneral de la Photographie, the Lumières privately screened a single film, Workers Leaving the Lumière Factory. The main focus of the conference by Louis concerned the recent developments in the photographic industry, mainly the research on polychromy (colour photography). It was much to Lumière's surprise that the moving black-and-white images retained more attention than the coloured stills.
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