Old University Chapel Osun hosted a book launch this Friday, presenting a Flemish painting of the 16th century in Osuna. The work, titled 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. It 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 culmination of a four-year effort to produce a compact catalog in a crowded venue. Flamenco painting, protected by the Arts Board and Friends of Osuna Museums, emerged from a public appeal by the Board to publish a monographic volume highlighting the extensive Flemish collection from the 16th century and the artistic legacy of the counts and countesses of Ureña in Osuna.
According to Diéguez-Rodríguez, the project involved cataloging and inventorying information within the mosaic database managed by the Junta de Andalusia for researcher access. The book reveals the works preserved in the Collegiate Church of the Holy Sepulcher and the University of Osuna, and explains their significance in the locations where they are kept. The Moll Institute director and flamenco painting expert, noted for his doctoral work on this painting in the northern Netherlands and Spain, explained that the counts of Ureña encouraged the construction of the University Church and the Pantheon of the Counts of Ureña between 1530 and 1555. Alongside this construction, they commissioned artists who embraced a flamenco aesthetic, influenced by artists active in Seville, such as Hernando de Esturmio or Roque Balduque.
“The artists did not work in isolation but formed companies that shared strong relationships and a unified aesthetic tied to the Antwerp school”, the expert explains. Consequently, the counts sought the most established painters; they also maintained commercial networks with their places of origin, enabling the arrival of imported works. The book details this dynamic, distinguishing between works created by flamenco artists in Osuna and works imported from Flanders, and integrates them into a broader narrative. Through the investigations, the authorship of the four paintings in the Holy Sepulcher was identified. The question remains: who is Osuna’s teacher? The author notes that the contribution includes naming high‑quality artists who operate within a complex thematic and symbolic program beyond initial appearances. Arnao de Bergara, the artist responsible for the Seville Cathedral stained glass, is cited as another reference whose work influenced the aesthetic and iconographic trajectory of the counts of Ureña, though his stained glass pieces have not survived.
in good condition
The family legacy endures in good condition. The arrival of the French at the start of the 19th century led to the loss of much jewelry and adornment. The publication notes a striking fact: works created for a specific place have remained in their original location since the 16th century, a rarity that helps preserve the stylistic integrity and underlying symbolism behind the works. The paintings’ burial has contributed to their survival in good condition, even though some pieces have disappeared.
The Countesses of Ureña played a decisive role in shaping flamenco painting tastes. Their influence extended to founding their own burial site at a moment when court relations began to weaken, resulting in publicly visible, highly artistic sites such as the Holy Sepulcher.
A book that appeals to every reader
The volume is written for a broad audience, offering reliable information while guiding readers through the preserved works in Osuna. It includes a catalog that helps visitors understand each piece and its context within the admission area. The work also explains the broader meaning of Flemish painting and the Ureña lineage, giving readers a more general sense of the artwork. For the scholarly reader, footnotes, updated bibliography, and references invite further study. Diéguez-Rodríguez suggests there is still much to uncover in Osuna.
At the book’s presentation, Professor Manuel García Luque from the University of Seville’s Department of Art History highlighted the author’s historical rigor and intellectual honesty. Mónica Ortiz, Director General of Historical Heritage for the Ministry of Tourism, Culture and Sports of Andalusia, underscored the importance of publishing specialized monographs for the preservation and dissemination of artistic heritage. Jesús Heredia, representative of Osuna Celebrations, also attended.