The Flemish Government has approved a draft decree establishing a permanent restitution commission to address claims involving Nazi-looted art, in a move aimed at creating a more structured and transparent policy framework.
The decision introduces a dedicated body that will assess requests for the return of cultural objects believed to have been taken under the Nazi regime between 1933 and 1945.
The commission will function as an independent advisory organ, issuing recommendations to the Flemish government, particularly in cases involving works held in the Flemish Community Collection. Local authorities, private owners and heirs will also be able to submit claims, with the commission tasked with conducting provenance research and hearing all parties involved.
The initiative follows increasing pressure on Belgium to act, as neighbouring countries have long had restitution policies in place. After renewed media attention in 2022 prompted heirs to come forward with claims, Flanders took the lead in developing a legal and institutional response. The new decree formalises this effort and aligns it with international principles such as the Washington Conference Principles on Nazi-Confiscated Art.
According to Flemish Minister for Culture Caroline Gennez (Vooruit), the measure is intended to address historical injustices linked to the systematic looting of property from Jewish families during the Holocaust. She indicated that artworks stolen or sold under duress before and during the World War II should be returned to their rightful owners, and that Flanders can now begin to take concrete steps towards restitution after years of inaction.
Two restitution claims are currently pending, concerning three artworks in the collection of the Royal Museum of Fine Arts Antwerp (Koninklijk Museum voor Schone Kunsten, KMSKA). These cases, linked to the heirs of a Jewish art dealer and an art restorer affected by Nazi persecution, will be transferred to the new commission once it becomes operational. Another ongoing claim involves ‘Portrait of Ludwig Adler‘ by Oskar Kokoschka, held at the Museum of Fine Arts Ghent.
The establishment of a permanent body may also reopen previously contested cases, including the disputed ownership of ‘Portrait of Bishop Triest‘ in Ghent, which was not returned following a controversial advisory decision in 2024.
Alongside the commission, the Flemish government plans to strengthen proactive provenance research. Museums will be encouraged to screen their collections for potentially looted works, supported by existing funding mechanisms. However, the voluntary nature of this approach and the limited expertise in Nazi-era provenance research in the region may affect the pace of progress.
The decision builds on recommendations from a temporary expert commission that operated in 2025 and forms part of a broader policy outlined in the Strategic Vision Note on Arts and Heritage approved earlier this year.
Recent restitution cases have underscored the importance of such measures. In 2025, a 17th-century painting by Jacob Jordaens – ‘The Return of the Holy Family from the Flight into Egypt‘ – was returned to the descendants of its original owners at Kazerne Dossin, nearly 80 years after it was looted. The artwork, valued at around €800,000, had been traced through extensive research before its restitution.
In another case, a book titled ‘Armoede‘ by Ina Boudier-Bakker, looted from the Andriesse family during the war, was returned in 2025 to the Jewish Museum of Belgium. The book had travelled across several countries before being identified and restored to its rightful heirs.
At the federal level, progress remains more limited, although some steps are underway. Claims have been filed for artworks in the Royal Museums of Fine Arts of Belgium, and a looted watercolour by Félicien Rops discovered in the Royal Library of Belgium is expected to be returned to its heirs in the coming months.
Before the Flemish decree is finalised, it will be reviewed by several advisory bodies, including the Strategic Advisory Council for Culture, Youth, Sport and Media, the Flemish Supervisory Commission and the Council of State.
Consultations with stakeholders, particularly representatives of the international Jewish community, are also planned.
The establishment of the restitution commission marks a significant step towards a more consistent and transparent approach to resolving claims over cultural property lost during the Nazi era.
