1395 – Born in Maaseik, Bishopric of Liège, Holy Roman Empire (now in Belgium). Flemish painter who perfected the newly developed technique of oil painting. His naturalistic panel paintings, mostly portraits and religious subjects, made extensive use of disguised religious symbols.
1425 – He continued to work in the palace of The Hague until the Count’s death and then settled briefly in Bruges before he was summoned, that summer, to Lille to serve Philip the Good, duke of Burgundy, the most powerful ruler and foremost patron of the arts in Flanders.
1427 – Jan must have met Campin at least once, when he was feted by the Tournai painter’s guild, and from Campin’s art he seems to have learned the bold realism, the method of disguised symbolism, and perhaps the luminous oil technique that became so characteristic of his own style.
1431 – Jan purchased a house in Bruges and, about the same time, married a woman named Margaret, about whom little more is known than her birth and was to bear him at least two children.
1432 – His masterpiece is the altarpiece in the cathedral at Ghent, the Adoration of the Lamb (also called Ghent Altarpiece).
– Art historians turned to less ambitious but more secure works to plot Jan’s development, including, most notably: the Portrait of a Young Man (Leal Souvenir), The Marriage of Giovanni Arnolfini and Giovanna Cenami, the Madonna with Canon van der Paele, the triptych Madonna and Child with Saints, and the panels of St. Barbara and the Madonna at the Fountain.
1436 – Residing in Bruges, Jan continued to paint and he again made a secret voyage for Philip.
1439 – A document of reports that Jan van Eyck paid an illuminator for preparing a book for the duke; but central to the discussion of his ties to manuscript illustration has been the attribution to Jan of several miniatures, identified as Hand G, in a problematic prayer book known as the Turin-Milan Hours.
1441 – Died on July 9th in Bruges.