Old University Chapel osun hosted a book launch this Friday Flemish painting of the 16th century in Osuna. Art, devotion and meaning for the counts of Ureña, is a study published by the Ministry of Tourism, Culture and Sports of the Government of Andalusia and is authored by Ana Diéguez-Rodríguez, director of the Official Research Center of Flamenco at the Moll Institute in Spain. The Doctor of Art History announced the result of the meticulous work he started four years ago to create a small catalog in a packed hall. flamenco painting protected by Arts Board and Friends of Osuna Museums and this resulted from a public appeal from the Board for the publication of a monographic book highlighting the extensive collection of Flemish paintings from the 16th century and the artistic legacy of the counts and countesses of Ureña in Osuna.
According to Diéguez-Rodríguez, during these years “cataloging and inventorying of information was carried out in the mosaic database owned by the Junta de Andalusia for consultation with researchers, while the book reveals the works preserved in the Collegiate Church of the Holy Sepulcher and the University of Osuna and their significance in the places where they are located”. Director of the Moll Institute and expert on Flemish painting, Dr. Qum Laude for his doctoral thesis on this painting in the north of the Netherlands Spain, He said that the counts of Ureña encouraged the construction of the University Church and the Pantheon of the Counts of Ureña between 1530 and 1555, and in parallel with this construction deployment, they looked for artists with a flamenco aesthetic, influenced by the presence of artists in Seville. for example Hernando de Esturmio or Roque Balduque.
“The artists did not work individually, but instead integrated into companies that had great relationships with each other and maintained a common aesthetic linked to the Antwerp school,” he explains now. Thus the counts turned to the most established painters; they also had commercial networks with their countries of origin, making it possible for imported works to arrive; This is also explained in detail in the book, because Distinguishes between works made by flamenco artists in Osuna and works imported from Flanders and integrates with the whole. As a result of the investigations, the identity of the authors of the four paintings in the painting was determined. holy grave, Who does the author call Osuna’s teacher? “One of the things we contribute is the identification of artists of high technical quality who work within a more complex thematic-symbolic program than it initially appears,” he notes. Arnao de Bergaraartist responsible for stained glass windows Seville Cathedral, According to the expert, this is another one of the references that “will have a great influence on the aesthetic and iconographic approach of the counts of Ureña, although his stained glass works have not been preserved.”
in good condition
The family legacy remains in good condition “With the arrival of the French at the beginning of the 19th century, much of the jewelery and jewelery was lost.” The publication records a relevant fact, and that is: “IWorks produced for a specific place have remained in the same place since the 16th century.“This is something that does not usually happen and provides a very aesthetically pleasing artistic integrity, allowing us to understand the symbology and iconographic approach behind it.” It is precisely the burial of the paintings that has enabled them to survive to the present day in good condition. Even though there are pieces that are lost.
Interesting and decisive role Countesses of Ureña The taste of flamenco painting is another aspect included in this volume, because, according to the author, they were behind the family’s creation of their own burial ground at a historical moment when court relations began to deteriorate. families had to leave a record of why they needed to be close to the king, and It appears publicly with sites of great artistic splendor, such as the Holy Sepulcher.
A book that appeals to every reader
The book is designed from an informative perspective and is a work for every readership. Contains some Catalog Thus, everyone who comes to Osuna and wants to visit the preserved works will know the key to each one separately and will be able to learn the entrance section. a more detailed development About what the Flemish painting means, who the Ureña counts are, why they bring this up to get a more general idea. Similarly, the expert reader will find footnotes, updated bibliography and references In order to continue the investigations, in Diéguez-Rodríguez’s opinion, “There is still much to discover in Osuna.”
In the presentation of the publication, introduced by Professor Manuel García Luque from the Department of Art History of the University of Seville, emphasizing “the historical rigor and intellectual honesty of the author”; Mónica Ortiz, Director General of Historical Heritage of the Ministry of Tourism, Culture and Sports of the Government of Andalusia, also participated and emphasized the importance of publishing such specialized monographs for the dissemination and knowledge of the artistic heritage; and Jesús Heredia, representative of Osuna Celebrations.