Question: Who is the sibling of the person credited with the reinvention and popularization of oil paints?

full_context: Document 1: Portrait of Margaret van Eyck: Portrait of Margaret van Eyck (or Margaret, the Artist's Wife) is a 1439 oil on wood painting by the Early Netherlandish master Jan van Eyck. It is one of the two latest of his surviving paintings, and one of the earliest European artworks to depict a painter's spouse. Completed when she was around 34, it was hung until the early 18th century in the Bruges chapel of the Guild of painters. The work is thought to be a pendant or diptych panel for either a now lost self-portrait known from records until 1769, or of Jan van Eyck's likely self-portrait now in the National Gallery in London.
Document 2: The Judgement of Cambyses: The Judgement of Cambyses is an oil on wood diptych by Dutch artist Gerard David, depicting the arrest and flaying of the corrupt Persian judge Sisamnes on the order of Cambyses, based on Herodotus' "Histories". The diptych was commissioned in 1487/1488 by the municipal authorities of Bruges which requested a series of panels for the deputy burgomaster's room in the town hall.
Document 3: Crucifixion and Last Judgement diptych: The Crucifixion and Last Judgement diptych (or Diptych with Calvary and Last Judgement) consists of two small painted panels attributed to the Early Netherlandish artist Jan van Eyck, with areas finished by unidentified followers or members of his workshop. This diptych is one of the early Northern Renaissance oil on panel masterpieces, renowned for its unusually complex and highly detailed iconography, and for the technical skill evident in its completion. It was executed in a miniature format; the panels are just high by wide. The diptych was probably commissioned for private devotion.
Document 4: The Just Judges: The Just Judges or The Righteous Judges is the lower left panel of the "Ghent Altarpiece", painted by Jan van Eyck or his brother Hubert Van Eyck between 1430–32. It is believed that the panel shows portraits of several contemporary figures such as Philip the Good, and possibly the artists Hubert and Jan van Eyck themselves. The panel was stolen in 1934 and has never been found.
Document 5: Hellenistic period: Hellenistic art saw a turn from the idealistic, perfected, calm and composed figures of classical Greek art to a style dominated by realism and the depiction of emotion (pathos) and character (ethos). The motif of deceptively realistic naturalism in art (aletheia) is reflected in stories such as that of the painter Zeuxis, who was said to have painted grapes that seemed so real that birds came and pecked at them. The female nude also became more popular as epitomized by the Aphrodite of Cnidos of Praxiteles and art in general became more erotic (e.g. Leda and the Swan and Scopa's Pothos). The dominant ideals of Hellenistic art were those of sensuality and passion.
Document 6: Portrait of a Man with a Blue Chaperon: Portrait of a Man with a Blue Chaperon (or Portrait of a Man with a Blue Hood, earlier Portrait of a Jeweler or Man with a Ring) is a very small (22.5 cm x 16.6 cm with frame) oil on panel portrait of an unidentified man attributed to the Early Netherlandish painter Jan van Eyck.
Document 7: Late Middle Ages: The ideas of the Italian Renaissance were slow to cross the Alps into northern Europe, but important artistic innovations were made also in the Low Countries. Though not – as previously believed – the inventor of oil painting, Jan van Eyck was a champion of the new medium, and used it to create works of great realism and minute detail. The two cultures influenced each other and learned from each other, but painting in the Netherlands remained more focused on textures and surfaces than the idealized compositions of Italy.
Document 8: St. Anthony Beaten by Devils: This tryptch is missing a panel, lost when it was disassembled in 1777, but the panel with "St. Anthony Beaten by Devils" is currently on display at the Pinacoteca Nazionale. The painting depicts St. Anthony being clubbed by three devils who have surrounded him. According to stories, St. Anthony led a monastic life, and was tempted and tortured by devils as a test of faith.
Document 9: Annunciation (van Eyck, Washington): The Annunciation is an oil painting by the Early Netherlandish master Jan van Eyck, from around 1434–1436. The panel is housed in the National Gallery of Art, in Washington D.C. It was originally on panel but has been transferred to canvas. It is thought that it was the left (inner) wing of a triptych; there has been no sighting of the other wings since before 1817. The annunciation is a highly complex work, whose iconography is still debated by art historians.
Document 10: Red: Rothko also began using the new synthetic pigments, but not always with happy results. In 1962 he donated to Harvard University a series of large murals of the Passion of Christ whose predominant colors were dark pink and deep crimson. He mixed mostly traditional colors to make the pink and crimson; synthetic ultramarine, cerulean blue, and titanium white, but he also used two new organic reds, Naphtol and Lithol. The Naphtol did well, but the Lithol slowly changed color when exposed to light. Within five years the deep pinks and reds had begun to turn light blue, and by 1979 the paintings were ruined and had to be taken down.
Document 11: Peredvizhniki: During their blossoming (1870–1890), the Peredvizhniki society developed an increasingly wider scope, with more natural and free images. In contrast to the traditional dark palette of the time, they chose a lighter palette, with a freer manner in their technique. They worked for naturalness in their images, and the depiction of people's relationship with their surroundings. The society united most of the highly talented artists of the country. Among Peredvizhniki there were artists of Ukraine, Latvia, and Armenia. The society also showed the work of Mark Antokolski, Vasili Vereshchagin, and Andrei Ryabushkin. The work of the critic and democrat Vladimir Stasov was important for the development of Peredvizhniki's art. Pavel Mikhailovich Tretyakov showed the work of these artists in his gallery and gave them important material and moral support.
Document 12: Oil paint: As public preference for naturalism increased, the quick - drying tempera paints became insufficient to achieve the very detailed and precise effects that oil could achieve. The Early Netherlandish painting of the 15th century saw the rise of the panel painting purely in oils, or oil painting, or works combining tempera and oil painting, and by the 16th century easel painting in pure oils had become the norm, using much the same techniques and materials found today. The claim by Vasari that Jan van Eyck ``invented ''oil painting is not correct but has cast a long shadow, but van Eyck's use of oil paint achieved novel results in terms of precise detail and mixing colours wet - on - wet with a skill hardly equalled since. Van Eyck's mixture may have consisted of piled glass, calcined bones, and mineral pigments boiled in linseed oil until they reached a viscous state -- or he may have simply used sun - thickened oils (slightly oxidized by Sun exposure). He left no written documentation.
Document 13: Paint: Since the time of the Renaissance, siccative (drying) oil paints, primarily linseed oil, have been the most commonly used kind of paints in fine art applications; oil paint is still common today. However, in the 20th century, water - based paints, including watercolors and acrylic paints, became very popular with the development of acrylic and other latex paints. Milk paints (also called casein), where the medium is derived from the natural emulsion that is milk, were popular in the 19th century and are still available today. Egg tempera (where the medium is an emulsion of raw egg yolk mixed with oil) is still in use as well, as are encaustic wax - based paints. Gouache is a variety of opaque watercolor that was also used in the Middle Ages and Renaissance for manuscript illuminations. The pigment was often made from ground semiprecious stones such as lapis lazuli and the binder made from either gum arabic or egg white. Gouache, also known as' designer color 'or' body color 'is commercially available today.
Document 14: Late Middle Ages: The period saw several important technical innovations, like the principle of linear perspective found in the work of Masaccio, and later described by Brunelleschi. Greater realism was also achieved through the scientific study of anatomy, championed by artists like Donatello. This can be seen particularly well in his sculptures, inspired by the study of classical models. As the centre of the movement shifted to Rome, the period culminated in the High Renaissance masters da Vinci, Michelangelo and Raphael.
Document 15: Virgin and Child with Canon van der Paele: The Virgin and Child with Canon van der Paele is a large oil-on-oak panel painting completed around 1434–36 by the Early Netherlandish painter Jan van Eyck. It shows the painting's donor, Joris van der Paele, within an apparition of saints. The Virgin Mary is enthroned at the centre of the semicircular space, which most likely represents a church interior, with the Christ Child on her lap. St. Donatian stands to her right, Saint George — the donor's name saint — to her left. The panel was commissioned by van der Paele as an altarpiece. He was then a wealthy clergyman from Bruges, but elderly and gravely ill, and intended the work as his memorial.
ground_truth: Hubert Van Eyck
sub_queries: who is credited with the reinvention and popularization of oil paints Answer: Jan van Eyck
Jan van Eyck >> sibling Answer: Hubert Van Eyck