Philip the Bold, Duke of Burgundy as Philip II (1363–1404)
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The term "Valois Dukes of Burgundy" is employed to refer to the dynasty which began after John II of France (also Duke of Burgundy as John I) granted the Duchy of Burgundy to his youngest son, Philip the Bold.
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1393: Claus Sluter carved the famous group showing Philip the Bold and Margaret of Flanders ; the duke and the duchess are seated under an elm, surrounded by sheep;
Sluter probably worked in Brussels before moving to the Burgundian capital of Dijon, where from 1385 to 1389 he was the assistant of Jean de Marville, Court Sculptor to Philip the Bold, Duke of Burgundy.
Nevers came under the rule of the Count of Flanders in the 14th century, and from there, into the possessions of Philip the Bold, Duke of Burgundy, briefly reuniting the two lands.
Jean de Beaumetz is recorded to have been "painter and valet" to Philip the Hardy, for whom he painted numerous works, and decorated, among other chapels, that of the Castle of Argilli, in Burgundy.
In 1385, at the Burgundian double wedding in Cambrai, she married John, Count of Nevers, the son and heir of Philip the Bold, Duke of Burgundy and Margaret of Dampierre, Countess of Flanders, Artois and Burgundy; at the same time her brother, William II, Duke of Bavaria married their daughter Margaret of Burgundy, Duchess of Bavaria.
Jacqueline was the only child by his wife Margaret of Burgundy, a daughter of Philip the Bold whom he married in 1385, at the Burgundian double wedding in Cambrai, at the same time his sister, Margaret of Burgundy, Duchess of Bavaria married John the Fearless.
Sluter was one of the sculptors of the famous mourners of Dijon, which occupy niches below the tombs of Philip the Bold, his wife Margaret, and John the Fearless.
From 1381 he was court painter to Louis de Mâle, Duke of Brabant, and from Louis's death in 1384 worked for his son-in-law and successor, Philip the Bold, although he remained based in Ypres, doing much work, mostly decorative, at Philip's now vanished chateau at Hesdin, which was full of elaborate mechanical devices, of what we might today call a fairground nature, which needed painting.