他出生在1460左右佛兰德（今比利时）。他显然训练有素的在他的祖国，最有可能在根特，因为他的工作表明相似之处到的朱斯面包车沃森霍夫，雨果·凡·德·古斯和其他艺术家根特。之后，他成为宫廷画家，他只记录王后伊莎贝拉一世卡斯蒂利亚，他在账户中1496他由1498描述为“宫廷画家”，并继续在女王的服务，直到她去世首先提到1504他主要画的王室肖像，也是广大大型系列小型（21.3点¯x16.7厘米）面板的的polyptych祭坛为皇后。该小组已经分散和面板人数最多的是在皇家收藏在马德里。

伊莎贝拉在1504去世后，胡安德Flandes转向教会佣金的西班牙教堂，开始萨拉曼卡在1505-7。他后来被总部设在帕伦西亚，那里有一个大reredos在大教堂。在帕伦西亚他的妻子在十二月1519在数据库之外举行，从西班牙期间，他集中在宗教题材此后期日期绝大多数他的工作描述为一个寡妇。从一个Palencian教堂祭坛大板是分之间的普拉多和艺术，华盛顿国家美术馆，谁各有四个面板。

他的作品表现出根特的早期尼德兰风格适应西班牙的味道和景观，特别是对隔间的场景组的要求祭坛。他的着色精制而成，“与宁酸色调偏好”和“，而他对空间和光线的感觉是复杂的，一种倾向，划分空间成细面连续成为在他晚期作品在风格。

He was born around 1460 in Flanders (modern Belgium). He evidently trained in his home country, most likely in Ghent, as his work shows similarities to that of Joos van Wassenhove, Hugo van der Goes and other Ghent artists. He is only documented after he became an artist at the court of Queen Isabella I of Castile, where he is first mentioned in the accounts in 1496. He is described as "court painter" by 1498 and continued in the queen's service until her death in 1504. He mostly painted portraits of the royal family, but also the majority of a large series of small (21.3 x 16.7 cm) panels for a polyptych altarpiece for the queen. The panels have been dispersed and the largest number of panels is in the royal collection in Madrid.

After Isabella's death in 1504 Juan de Flandes turned to ecclesiastical commissions from Spanish churches, beginning in Salamanca in 1505–7. He was later based in Palencia, where there is a largereredos in the Cathedral. In Palencia his wife was described as a widow in December 1519. The overwhelming majority of his work held in collections outside Spain dates from this later period during which he concentrated on religious themes. Panels from a large altarpiece from a Palencian church are divided between the Prado and National Gallery of Art, Washington, who have four panels each.

His works show the Early Netherlandish style of Ghent adapted to the Spanish taste and landscape, notably the requirements for groups of compartmented scenes for altarpieces. His colouring is refined, "with a preference for rather acid hues", and "while his feeling for space and light is sophisticated, a tendency to divide space into a succession of thin planes becomes a mannerism in his late works".