Question:
Jan van Eyck (Dutch: ['jan van 'eik]) (before c. 1390 - 9 July 1441) was an Early Netherlandish painter active in Bruges. He is often considered one of the founders of Early Netherlandish painting, and, one of the most significant representatives of Northern Renaissance art.
It is known that van Eyck was considered revolutionary within his lifetime; his designs and methods were heavily copied and reproduced. His motto, one of the first and still most distinctive signatures in art history, ALS IK KAN ("AS I CAN"), a pun on his name, 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. He married the much younger Margaret probably around 1432, about the same time he bought a house in Bruges; she is unmentioned before he relocated, while the first of their two children was born in 1434. Very little is known of Margaret, even her maiden name is lost - contemporary records refer to her mainly as Damoiselle Marguerite. She is thought to have been of aristocratic birth, though from the lower nobility, evidenced from her clothes in this 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. Van Eyck undertook a number of journeys on Philip the Duke of Burgundy's behalf between 1426 and 1429, journeys 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 c. 1440. 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. Van Eyck's was tasked with painting the bride, so that the Duke could visualise her before their marriage. Because Portugal was ridden with 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. 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. 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.
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What was maturity?

Answer:
The years between 1434 and 1436 are generally considered his high point

Question:
James Whale (22 July 1889 - 29 May 1957) was an English film director, theater director and actor. He is best remembered for his four classic horror films: Frankenstein (1931), The Old Dark House (1932), The Invisible Man (1933) and Bride of Frankenstein (1935). Whale also directed films in other genres, including what is considered the definitive film version of the musical Show Boat (1936). He became increasingly disenchanted with his association with horror, but many of his non-horror films have fallen into obscurity.
The success of the various productions of Journey's End brought Whale to the attention of movie producers. Coming at a time when motion pictures were making the transition from silent to talking, producers were interested in hiring actors and directors with experience with dialogue. Whale traveled to Hollywood in 1929 and signed a contract with Paramount Pictures. He was assigned as "dialogue director" for a film called The Love Doctor (1929). He completed work on the film in 15 days and his contract was allowed to expire. It was at around this time that he met David Lewis. Whale was hired by independent film producer and aviation pioneer Howard Hughes, who planned to turn the previously silent Hughes production Hell's Angels (1930) into a talkie. Whale directed the dialogue sequences. When his work for Hughes was completed, he headed to Chicago to direct another production of Journey's End. Having purchased the film rights to Journey's End, British producers Michael Balcon and Thomas Welsh agreed that Whale's experience directing the London and Broadway productions of the play made him the best choice to direct the film. The two partnered with a small American studio, Tiffany-Stahl, to shoot it in New York. Colin Clive reprised his role as Stanhope, and David Manners was cast as Raleigh. Filming got underway on 6 December 1929 and wrapped on 22 January 1930. Journey's End was released in Great Britain on 14 April and in the United States on 15 April. On both sides of the Atlantic the film was a tremendous critical and commercial success.
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What location was this movie filmed in?

Answer:
New York.

Question:
Steven Ellison (born October 7, 1983), known by his stage name Flying Lotus or sometimes FlyLo, is an experimental multi-genre music producer, electronic musician, DJ, filmmaker, and rapper from Los Angeles, California. Flying Lotus has released five studio albums--1983 (2006), Los Angeles (2008), Cosmogramma (2010), Until the Quiet Comes (2012) and You're Dead! (2014)--to critical acclaim.
At his mother's house, Ellison saw an advertisement on Adult Swim/Cartoon Network asking for song submissions. He sent some in, under the name Flying Lotus (a moniker inspired by lucid dreaming) and was accepted. Around this time, he was interning at the pioneering hip hop label Stones Throw Records. Days were spent in their offices, and nights were spent at his grandmothers, working on the music that would become his debut album: 1983. The record (released on LA indie label Plug Research) was an early touchstone for Ellison's eclectic creative mission, forging compressed, spacey and Eastern sounding hip-hop beats, that summoned Madlib as much as Dntel, while sampling as far back as 70s Japanese proto-synthpop and 60s jazz harp. It would also feature Laura Darlington, who went on to become a vocal fixture of future albums. In 2006, Ellison participated in that year's annual Red Bull Music Academy, which took place in Melbourne, Australia. In 2007, he announced on CSU-Fullerton's Titan Radio that he signed with Warp Records (home to Prefuse 73, Autechre, Boards of Canada, and Aphex Twin). Following his Warp debut, the six-track Reset EP, he quickly became one of the label's cornerstone artists and released his second studio album, titled Los Angeles, on June 10, 2008. His first release on Warp, Reset EP, gave his new audience a taste of the steady grooves and darker breaks that had earned him the move. As Ellison's profile rose, he decided to commandeer the limelight by launching his own label, Brainfeeder, to house his friends (Samiyam, Ras G, etc.) and unite a large section of the LA beat scene under one label.
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did it do a good job with the people and the fans

Answer:
As Ellison's profile rose,