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| c. 1430 |
| | | Robert Campin, also known as the Master of Flémalle, brings to Flemish painting a natural and everyday quality which is entirely new | |
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| 1432 |
| | | A new altarpiece is installed in the cathedral in Ghent, introducing the powerful realism of Jan van Eyck | |
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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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| c. 1460 |
| | | Oil paints, long familiar in the Netherlands, begin to be adopted in Italy in place of tempera | |
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| 1463 |
| | | The assembly brought together in Bruges in 1463 is later seen as the first full gathering of the Netherlands States-General | |
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| c. 1468 |
| | | Jerome van Aken works almost exclusively in his native s' Hertogenbosch, from which he derives the name Hieronymus Bosch | |
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| c. 1475 |
| | | Tommaso Portinari, the Medici agent in Bruges, commissions an altarpiece from Hugo van der Goes for his family church in Florence | |
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| 1503 |
| | | Hieronymus Bosch paints the most detailed of his exotically surreal canvases, The Garden of Earthly Delights | |
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