Since Sternen regularly spent the winter months in Munich until 1905, the painting has been traditionally dated to 1904. Nothing comparable is found in his oeuvre to date, so we can speculate that this painting profited from the conscious encounter with impressionist painting a year earlier. The lesson received was different from those of the rest of the Slovenian impressionist painters. Sternen was a draftsman and his work at the Ažbe school kept him busy with the figure and the nude. Thus, his eye was caught more by the bird’s-eye views of the impressionist cityscapes and particularly Gustave Caillebotte’s panoramic glimpses from the dormer windows of the boulevard residential buildings. Sternen caught the street with reflections of the sun on the façades of the buildings contrasted with the angle of the closest building to the right cast in shadow. It works as a repoussoir that propels the view into the picture space and defines exactly the subjective vantage point. The late afternoon light of the winter sunset with its thick atmosphere suggests the emphatic immersion into the mood of the motif, so typical for Central European painting.