New painting techniques adopted by young artists and the unusual look of their paintings made it impossible to show them in the Salon, as they seemed incomplete to the public. In 1874, artists founded a group to show their works at an independent exhibition. The event took place at the studio of the photographer Nadar. This is where Monet presented his painting “Impression. Sunrise"(“L’impression. Le soleillevant”). This piece of art gave the name to the whole tradition. After seeing this painting, critic Louis Leroy played on its title in his article “The Exhibition of the Impressionists."The artists not only took the joking name graciously, but they actually used it as the official name of their group. The painting Le Boulevard Des Capucines was also displayed at this exhibition. The artist worked on it from the windows of Nadar’s photography studio.He depicted the Parisian boulevard as if it were seen at a random glance. In this panorama, Monet was interested not in the architectural landmarks of the street, but in its whole look. Details are blurred in the colorful mirage. The view covers just a part of the boulevard, cutting off male figures on a balcony. The crowd and trees are painted in a rough manner, and small brush strokes give rise to the sensation of springtime air filled with light. The major effect of this painting is based on the contrast of the illuminated left and the shaded right sides of the boulevard. While observing city life, the artist notes that objects do not have any constant color. It all depends on light. Thus, depicting naked treetops, he uses yellow brush strokes in the illuminated part and blue and violet in the shadow. In the shadow itself, no traditional gray color is applied. This area becomes bluish and lilac. Under Monet’s brush, the buildings in the left part of the composition acquire the color given by the bright sunlight. The light not only influences the colors of objects, but it also dissolves their shapes, making them unsteady and vibrant. Monet strives to convey not just the objects, figures of people, and carriages, but a brief moment in swiftly flowing time. Instead of a frozen space, time itself comes to life in his painting, and objects are captured in a brief moment of transition from one temporal state to another. This time-oriented concept of depicting space precedes the birth of the 10th muse of art — the cinema and its enlivened images. Interestingly, 21 years after the First Impressionist Exhibition, the first film screening was organized in one of the cafés on le Boulevard Des Capucines by the Lumière brothers.