where did jan van eyck live
In the course of his career van Eyck was considered by many to be the leading painter of his day; he was certainly among the best paid of the Netherlands painters since most painters earned their income strictly by commission. The artist produced paintings for court as well as for private clients. Although van Eyck did not invent oil painting, he is regarded as its father because of his early mastery of oil painting techniques. He was particularly skilled with glazes. Van Eyck died in 1441 and was buried at the Church of St. Donatian in Bruges. The church, however, was destroyed during the years of the French Revolution.
Little is known of van Eyck’s childhood or upbringing. Art scholars suspect that he was taught art by his older brother Hubert van Eyck; later, the two brothers would collaborate on The Ghent Altarpiece (1425-1432) which Jan would be obliged to complete alone after his brother’s death. Most art historians believe van Eyck was probably born before 1395, but no date can be pinpointed. Records show that van Eyck was patronized by Duke Philip the Good of Burgundy and spent roughly a year living in Lille before settling for good in Bruges. According to historians, van Eyck received an excellent salary painting for the duke; Philip was even named godfather of one of van Eyck’s children and was a beneficial friend to van Eyck’s family.
His brother Hubert van Eyck collaborated on Jan’s most famous works, the Ghent Altarpiece, generally art historians believe it was begun c. 1420 by Hubert and completed by Jan in 1432. Another brother, Lambert, is mentioned in Burgundian court documents, and may have overseen his brother’s workshop after Jan’s death. 
The idea of Mary as a metaphor for the Church itself is especially strong in his later paintings. In Madonna in the Church she dominates the cathedral; her head is almost level with the approximately sixty feet high gallery.  Art historian Otto Pächt describes the interior of Madonna in the Church as a “throne room” which envelops her as if a “carrying case”.  This distortion of scale is found in a number of other of his Madonna paintings, including Annunciation. Her monumental stature borrows from the works of 12th- and 13th-century Italian artists such as Cimabue and Giotto, who in turn reflect a tradition reaching back to an Italo-Byzantine type and emphasis her identification with the cathedral itself. Art historians in the 19th century thought the work was executed early in van Eyck’s career and attributed her scale as the mistake of a relatively immature painter. The idea that her size represents her embodiment as the church was first suggested by Erwin Panofsky in 1941.  Till-Holger Borchert says that van Eyck did not paint “the Madonna in a church”, but as “the Church”. 
Jan is first heard of between 1422 and 1425 at The Hague, where he held the title of peintre et varlet de chambre to John, Count of Bavaria-Holland. The general background and early training of the two artists, however, can only be surmised, as Jan already had apprentices when he arrived at The Hague. After the count’s death Jan moved to Bruges, where on May 19, 1425, he assumed the title of peintre et varlet de chambre to Philip the Good, Duke of Burgundy. Jan retained this title until his death. He also served the duke as a kind of roving ambassador, traveling to Spain in 1427 in search of a bride for his employer and to Portugal in 1428. On the latter occasion Jan was successful in obtaining the hand of Isabella, the Infanta of Portugal, for Philip. Their marriage took place at Bruges on Jan. 7, 1430.
While Jan van Eyck is the best-documented Flemish artist of the 15th century, there are so few records relating to Hubert that some art historians have strongly doubted his very existence. Moreover, not a single painting survives that can be attributed without question to Hubert. Indeed, but for the evidence of a quatrain painted on the frame of the famous Ghent Altarpiece, it is unlikely that his identity would have survived his own time. In translation the verse reads: “The painter Hubert van Eyck, greater than whom none was to be found, began this work and Jan, his brother—second in art—having carried through the task at the expense of Judocus Vyd, invites you by this verse to look at what has been done, 1432.”
As a painter and “valet de chambre” to the Duke, Jan van Eyck was exceptionally well paid. His annual salary was quite high when he was first engaged, but it doubled twice in the first few years, and was often supplemented by special bonuses. His salary alone makes Jan van Eyck an exceptional figure among early Netherlandish painters, since most of them depended on individual commissions for their livelihoods. An indication that Van Eyck’s art and person were held in extraordinarily high regard is a document from 1435 in which the Duke scolded his treasurers for not paying the painter his salary, arguing that Van Eyck would leave and that he would nowhere be able to find his equal in his “art and science.” The Duke also served as godfather to one of Van Eyck’s children, supported his widow upon the painter’s death, and years later helped one of his daughters with the funds required to enter a convent.
The date of van Eyck’s birth is not known. The first extant record of van Eyck is from the court of John of Bavaria at The Hague, where payments were made to Jan van Eyck between 1422 and 1424 as court painter, with the court rank of valet de chambre, and first one and then two assistants. This suggests a date of birth after 1395, and indeed probably earlier. His apparent age in his probable self-portrait (right) suggests to most scholars an earlier date than 1395. Miniatures in the Turin-Milan Hours, if indeed they are by van Eyck, are likely to be the only surviving works from this period, and about half of these were destroyed by fire in 1904. was an early and profound influence on Blake, and would remain a source of inspiration throughout his life.
Because of the refinement of his technique and the abstruseness of his symbolic programs, the successors of Jan van Eyck borrowed only selectively from his art. Campin’s foremost student, Rogier van der Weyden, tempered his master’s homey realism with Eyckian grace and delicacy; in fact, at the end of his career, Campin himself succumbed somewhat to Jan’s courtly style. Even Petrus Christus, who may have been apprenticed in Jan’s atelier and who finished the Virgin and Child, with Saints and Donor after Jan’s death, quickly abandoned the intricacies of Jan’s style under the influence of Rogier. During the last third of the century, the Netherlandish painters Hugo van der Goes and Justus van Gent revived the Eyckian heritage, but, when such early 16th-century masters as Quentin Massys and Jan Gossart turned to Jan’s work, they produced pious copies that had little impact on their original creations. In Germany and France the influence of Jan van Eyck was overshadowed by the more accessible styles of Campin and Rogier, and only in the Iberian Peninsula—which Jan had visited twice—did his art dominate. In Italy his greatness was recognized by Cyriacus and by the humanist Bartolomeo Facio, who lists Jan—together with Rogier and the Italian artists Il Pisanello and Gentile da Fabriano—as one of the leading painters of the period. But Renaissance artists, as painters elsewhere, found him easier to admire than to imitate.
Jan van Eyck must have been born before 1395, for in October 1422 he is recorded as the varlet de chambre et peintre (“honorary equerry and painter”) of John of Bavaria, count of Holland. He continued to work in the palace of The Hague until the count’s death in 1425 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. Jan remained in the duke’s employ until his death. On behalf of his sponsor he undertook a number of secret missions during the next decade, of which the most notable were two journeys to the Iberian Peninsula, the first in 1427 to try to contract a marriage for Philip with Isabella of Spain and a more successful trip in 1428–29 to seek the hand of Isabella of Portugal. As a confidant of Philip, Jan may have participated directly in these marriage negotiations, but he also was charged to present the duke with a portrait of the intended.