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| 1434 |
| | | Giovanni Arnolfini, a merchant from Lucca trading in Bruges, commissions from van Eyck a portrait of himself and his wife | |
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| 1435 |
| | | Chancellor Nicolas Rolin, of Burgundy, commissions an altarpiece from Jan van Eyck | |
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| 1435 |
| | | Rogier van der Weyden, the third in the extraordinary trio of Flemish artists of the 1430s, is appointed painter to the city of Brussels | |
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| 1436 |
| | | Perspective fascinates Italian Renaissance painters after the publication of Alberti's treatise on the subject, De Pictura | |
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| c. 1443 |
| | | The Dominican convent of San Marco, in Florence, is provided with a serenely beautiful series of frescoes by Fra Angelico and his assistants | |
|  | Fresco in San Marco Monastery
Fotofile CG
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| c. 1450 |
| | | Piero della Francesca paints masterpieces in his small home town of San Sepolcro | |
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| c. 1450 |
| | | Herat, under Timurid princes, succeeds Tabriz as the main centre of Persian art | |
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| c. 1450 |
| | | Paolo Uccello is interested in the laws of perspective, in works such as The Battle of San Romano | |
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| 1452 |
| | | Étienne Chevalier commissions from Jean Fouquet a series of illustrations for his Book of Hours | |
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| c. 1460 |
| | | Oil paints, long familiar in the Netherlands, begin to be adopted in Italy in place of tempera | |
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