Type of painting practised in Spain in the late 19th century and early 20th and concerned primarily with the use of light, especially in the depiction of landscape. Its exponents included Aureliano Beruete, Francisco Domingo y Marqués, Mariano Fortuny y Marsal, Francisco Iturrino, Ramón Martí Alsina, Joaquim Mir, Antonio Muñoz Degrain, Ignacio Pinazo, Darío de Regoyos, Augustín Riancho, Eduardo Rosales Martínez and Joaquín Sorolla y Bastida, though they never formed a school. The artists were influenced by a wide range of sources, including the work of the Barbizon school, the plein-air method of Corot, French Impressionism, the painting of the Italian Macchiaioli and Post-Impressionism, as well as by the Spanish tradition of painting. Somewhat artificially and in a similar manner to the French Impressionists, the painters were subsequently grouped together, more for the differences that separated them from other contemporary painters than for any relationships among them. Common to the work of these various artists, however, is the use of light as the basic element, although the treatment varies from painter to painter, and also a preference for landscape. The attitude of these artists is well summed up by Pinazo’s statement (1896): ‘For the true artist, then, there is nothing but light. Even form, which could be considered the most material element, is capable of being expressed only with colour; form is inconceivable without colour and colour without light’.