Se realiza una revisión de la obra de Jean Lome, escultor originario de Tournai, que, traído por Carlos III, desarrolló su actividad en Navarra durante la primera mitad del siglo XV y cuya realización cumbre, la tumba del rey, ha sido considerada uno de los conjuntos más importantes del periodo. Se trata de demostrar que –en contra de la teoría más difundida– Lome conoció la escultura borgoñona, especialmente la de la Cartuja de Champmol, en particular la de Claus de Werve, si bien la interpretó de modo personal. Se destaca la existencia de otro artista –por el momento anónimo–, que ha pasado casi inadvertido pese a su fuerte personalidad, colaborador de Lome, sobre todo en el sepulcro Garro, y que –en contraste con él– adoptó plenamente las formas sluterianas.Here is a revision of the work by sculptor Jean Lome, born in Tounai and brought by Charles III, who developed his art in Navarre during the second half of the 15th Century and whose ultimate production, the Monarch´s tomb, has been hailed as one of the most significant sculptural groups of the time. The aim is to prove that –in spite of the widespread theory– Lome was familiar with Burgundian sculpture, especially the Chartreuse of Champmol, and particularly Claus de Werve´s work, but chose to develop his own personal interpretation. Also, to highlight the presence of another artist –anonymous to date– who has gone unnoticed despite his strong personality, and worked with Lome, especially in the execution of the Garro sepulchre, and who –as opposed to Lome– fully adopted the sluterian forms
