Developing from the art of miniature and based on a detailed observation of reality, Flemish painting attained a technical superiority which ensured its prestige throughout Europe. Robert Campin (c. 1378-1444, identified with the Master of Flémalle) from Tournai, and the van Eycks (Hubert and Jan, c. 1390-1441) from Bruges, were the founders of the school. Dispensing with gold backgrounds they created the modern form of panel painting. Campin's style is slightly earlier than van Eyck's but as revolutionary in realism.
Rogier van der Weyden (1400-1464) studied under Campin. The influence of his emotional style extended into Germany and Italy. Dieric Bouts (1415-1475), after influence from van der Weyden at Brussels, settled at Leuven. His qualities of colour and landscape powerfully influenced German painting.
The Bruges school was represented by Petrus Christus (active 1444-1472/73), who was influenced by van Eyck, and by the eclectic artist Hans Memling (1440-1494). In Ghent, Justus of Ghent (active c.1460-80) who later moved to Urbino, and Hugo van der Goes (1436-1482) chose more monumental, livelier forms.
The northern school was formed first in Haarlem with an imitator of van Eyck, Albert van Ouwater and his pupil Geertgen tot Sint Jans (1460-1495), then in Delft with the Master of the Virgo inter Virgines, and finally with the brilliant and original painter Hieronymus Bosch (1450-1516).
Gerard David (1460-1523), from Haarlem, brought the taste for landscape to Bruges at the turn of the century (Baptism of Christ). After him, Jan Provost of Mons (d. 1529), trained at Valenciennes by Simon Marmion, yielded to the influence of the school of Antwerp which was to eclipse Bruges. Two other pupils of David, Adriaen Isenbrant and Ambrosius Benson continued in his manner until 1550.