Early Netherlandish painter in the context of The Descent from the Cross (Rogier van der Weyden)

Dieric Bouts (born c. 1415 – 6 May 1475) was an Early Netherlandish painter. Bouts may have studied under Rogier van der Weyden, and his work was influenced by van der Weyden and Jan van Eyck. He worked in Leuven from 1457 (or possibly earlier) until his death in 1475. His name also appears at various museums and institutions as Dirk Bouts.

Bouts was among the first northern painters to demonstrate the use of a single vanishing point (as illustrated in his Last Supper).

Petrus Christus (Dutch: [ˈpeːtrʏs ˈkrɪstʏs, ˈxrɪs-]; c. 1410/1420 – c. 1475/1476) was an Early Netherlandish painter active in Bruges from 1444, where, along with Hans Memling, he became the leading painter after the death of Jan van Eyck. He was influenced by van Eyck and Rogier van der Weyden and is noted for his innovations with linear perspective and a meticulous technique which seems derived from miniatures and manuscript illumination. Today, some 30 works are confidently attributed to him. The best known include the Portrait of a Carthusian (1446) and Portrait of a Young Girl (c. 1470); both are highly innovative in the presentation of the figure against detailed, rather than flat, backgrounds.

For the period between the death of Jan van Eyck in 1441 and Hans Memling establishing himself in the city in the mid-1460s, Christus was the leading painter in Bruges, which was then the leading Netherlandish centre of painting.

The world landscape, a translation of the German Weltlandschaft, is a type of composition in Western painting showing an imaginary panoramic landscape seen from an elevated viewpoint that includes mountains and lowlands, water, and buildings. The subject of each painting is usually a Biblical or historical narrative, but the figures comprising this narrative element are dwarfed by their surroundings.

The world landscape first appeared in painting in the work of the Early Netherlandish painter Joachim Patinir (c. 1480–1524), most of whose few surviving paintings are of this type, usually showing religious subjects, but commissioned by secular patrons. "They were imaginary compilations of the most appealing and spectacular aspects of European geography, assembled for the delight of the wealthy armchair traveler", giving "an idealized composite of the world taken in at a single Olympian glance".

Justus van Gent or Joos van Wassenhove (c. 1410 – c. 1480) was an Early Netherlandish painter, perhaps from Ghent, who after training and working in Flanders later moved to Italy where he worked for Federico da Montefeltro, duke of Urbino, and was known as Giusto da Guanto, or in modern Italian Giusto di Gand etc. The artist is known for his religious compositions executed in the early Netherlandish idiom and a series of portraits of famous men, which show the influence of early Italian Renaissance painting.

Portrait of a Carthusian is a painting in oils on oak panel by the Early Netherlandish painter Petrus Christus in 1446. The work is part of the Jules Bache Collection housed at the Metropolitan Museum of Art in New York City.

It is regarded as a masterpiece of Northern Ressainance painting and, because of the fly painted towards the bottom of the painting, a prominent, early example of trompe-l'œil. In 2020, the painting became a meme after the subject was compared to a Northeast Philadelphia local.

The Adoration of the Kings by the Early Netherlandish painter Gerard David (c. 1460 – 1523) is a painting in oil on panel, probably from after 1515, now in the National Gallery in London (NG 1079). The painted surface measures some 60 by 59.2 centimetres (23.6 in × 23.3 in), and the panel is about 2 centimetres (0.79 in) larger in both dimensions. The panel comes from a dismantled altarpiece from which one other panel appears to survive, the Lamentation that is also in the National Gallery (NG 1078).

The Adoration of the Magi is a common subject, which often represents the Nativity of Jesus in art, especially in this period, when the opportunity was often taken to show rich costumes in the figures of the Biblical Magi and their retinue, as for example in the slightly earlier Adoration by Jan Gossaert, also in the National Gallery, to which David is sometimes thought to have contributed. Though that is a much larger and more crowded painting, David may have borrowed aspects of the composition here from it.