Editing Jan van Eyck (section)

===Maturity and success===
[[File:Margareta van Eyck.jpg|thumb|''[[Portrait of Margaret van Eyck]]'', [[Groeningemuseum]], [[Bruges]], 1439]]
Considered revolutionary within his lifetime, van Eyck's designs and methods were heavily copied and reproduced. His motto, one of the first and still most distinctive signatures in art history, ''<small>ALS ICH KAN</small>'' ("AS I CAN"), a pun on his name,<ref>Nash (2008), 152</ref> first appeared in 1433 on ''[[Portrait of a Man in a Turban]]'', which can be seen as indicative of his emerging self-confidence at the time. The years between 1434 and 1436 are generally considered his high point when he produced works including the ''[[Madonna of Chancellor Rolin]]'', ''[[Lucca Madonna]]'' and ''[[Virgin and Child with Canon van der Paele]]''. 

Around 1432, he married [[Portrait of Margaret van Eyck|Margaret]] who was 15 years younger. At about the same time he bought a house in Bruges; Margaret is unmentioned before he relocated, when the first of their two children was born in 1434. Very little is known of Margaret; even her maiden name is lost&nbsp;– contemporary records refer to her mainly as ''Damoiselle Marguerite''.<ref name="t149"/> She may have been of aristocratic birth, though from the lower nobility, evidenced from her clothes in the portrait which are fashionable but not of the sumptuousness worn by the bride in the ''[[Arnolfini Portrait]]''. Later, as the widow of a renowned painter Margaret was afforded a modest pension by the city of Bruges after Jan's death. At least some of this income was invested in [[lottery]].<ref>Van Der Elst (2005), 65</ref>

Van Eyck undertook a number of journeys on Philip the Duke of Burgundy's behalf between 1426 and 1429, described in records as "secret" commissions, for which he was paid multiples of his annual salary. Their precise nature is still unknown, but they seem to involve his acting as envoy of the court. In 1426 he departed for "certain distant lands", possibly to the [[Holy Land]], a theory given weight by the topographical accuracy of [[Jerusalem]] in ''The Three Marys at the Tomb'', a painting completed by members of his workshop {{Circa|1440}}.<ref name="b8">Borchert (2008), 8</ref>

A better documented commission was the journey to Lisbon along with a group intended to prepare the ground for the Duke's wedding to [[Isabella of Portugal, Duchess of Burgundy|Isabella of Portugal]]. Van Eyck was tasked with [[Portrait of Isabella of Portugal (van Eyck)|painting the bride]], so that the Duke could visualise her before their marriage. Because Portugal was ridden with [[Black Death|plague]], their court was itinerant and the Dutch party met them at the out-of-the-way [[castle of Avis]]. Van Eyck spent nine months there, returning to the Netherlands with Isabella as a bride to be; the couple married on Christmas Day of 1429.<ref>Macfall, Haldane. ''A History of Painting: The Renaissance in the North and the Flemish Genius Part Four''. Whitefish, Montana: Kessinger Publishing, 2004. 15. {{ISBN|1-4179-4509-5}}</ref> The princess was probably not particularly attractive, and that is exactly how Van Eyck conveyed her in the now lost portrait. Typically he showed his sitters as dignified, yet did not hide their imperfections.<ref name="b35">Borchert (2008), 35</ref> After his return, he was preoccupied with completing the ''Ghent Altarpiece'', which was consecrated on 6 May 1432 at [[Saint Bavo Cathedral]] during an official ceremony for Philip. Records from 1437 say that he was held in high esteem by the upper ranks of Burgundian nobility and was employed in foreign commissions.