Retablo de Nuestra Señora de la Asunción, iglesia de Santa Eulalia, Paredes de Nava
En Paredes de Nava, localidad al sur de la provincia de Palencia, encontramos la iglesia de Santa Eulalia, un templo de dimensiones casi catedralicias y que conserva en su interior uno de los grandes tesoros del arte del renacimiento español: el retablo de Nuestra Señora de la Asunción.
Este retablo, que se encuentra cobijado en la cabecera renacentista del templo, fue construido entre 1550 y 1556 por Inocencio Berruguete, Alonso Berruguete y Esteban Jordán. Éste último fue quien se encargó de la mayor parte del retablo excepto la Asunción, obra de Inocencio.
Si calificamos este conjunto retablístico como un “tesoro” del arte renacentista español es porque en él confluyen varias de las personalidades artísticas más importantes de finales del siglo XV y principios del XVI, dado que las tablas que lo conforman son extraordinarias pinturas de 1490 de Pedro Berruguete, padre de Alonso y tío de Inocencio.
El Rey David, retablo de Nuestra Señora de la Asunción, iglesia de Santa Eulalia, Paredes de Nava
La estructura arquitectónica del retablo es plenamente renacentista: en las calles laterales y la predela, los artistas sitúan perfectamente ordenadas las tablas de Pedro Berruguete, mientras que la calle central la ocupa la obra escultórica. Estas esculturas quedan lejos del manierismo expresivista del que hace gala Alonso Berruguete en sus mejores obras; en este caso, las figuras responden a una concepción más avanzada de las imágenes, de un manierismo más romanista, quizá por influencia en Jordán de Gaspar Becerra.
En cuanto a las pinturas, nos detendremos en ellas, pues a pesar de ser obras de finales del siglo XV, son de una gran relevancia en la historia del arte español. Los retratos de la predela de los reyes de Israel que Pedro Berruguete realizó, además de ser sus obras maestras, resumen a la perfección la fundamental aportación berruguetesca a la pintura renacentista española: su sentido lumínimo, los sutiles juegos perspectivos de los objetos en escorzo y su sentido individual y majestático, fundamentales para la posterior tradición retratística española.
Una verdadera obra de arte merece la pena visitarlo
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