He is mentioned in extant documents in 1418 as a neighbor in the home of Robert Kampen (also known as the Flemish master). There is also a document that mentions that two students, Jacques Dare and Rogier van der Weyden, were taken to the Kampen workshop in 1427. Five years later, in 1432, Dare himself became a free master and was in the Tournarian guild of St. Luke.
Between 1434−1452, Dare performed works for the Abbey of St. Vaas in Arras. Abbot of the monastery of Jean du Clerk for twenty years was the most important customer and patron of Dara.
From 1464 he lived in Bruges. Mention of the artist breaks off in 1468. Presumably he died in the years 1468−1470.
The place of Jacques Dahre in the Flemish painting of the fifteenth century is rather peculiar. On the one hand, surprisingly much is known about both the artist and his works — from the preserved archival documents. On the other hand, only four panels are attributed to him with a fairly high degree of accuracy, which once constituted one polyptych. In many ways, against their will, Dara turned out to be an artist "without pictures." And, if this is not enough, then according to Zheli Dijkstra, the work of Jacques Dare plays a key role in the problem of identifying the Flemish master.
Jacques Dauret was born about 1403 — his parents were the sculptor Jean Dara and Jeanne Ecarlati. Mother died when Jacques was about nine years old. Beginning in 1418, and possibly earlier, Darre lived with Robert Kampen in Tournai. Officially, as a student, Darre was enrolled in the guild of St. Luke only ten years later. In 1432, the day of St. Luke, October 18, he became a master.
In 1433 Darre moved to Arras, where he began to work for Jean du Clerc, the abbot of the monastery of St. Vedasta. For more than twenty years — until 1454 — Jean du Clerc was the most important customer of Dara. In 1454 Darre participated in the decoration of the court festivities. In 1468, Darre’s name was last mentioned — this time in connection with his participation in the preparation of celebrations on the occasion of the marriage of Charles the Bold and Margaret of York. Dara, together with the Brussels-based artist Vranka van der Stock, received the highest sum: more than, for example, Hugo van der Goes.