During the Second World War, a significant exodus of artworks occurred alongside the widespread devastation. The Nazis, including those in Belgium, orchestrated the removal of artworks to Germany to bolster their ambitious art collections. Geert Sels, a journalist at the Standaard newspaper and a researcher at Cegesoma, meticulously traced the routes through which major paintings by renowned artists left Belgium, gathering evidence from archives in Paris, The Hague, Koblenz, and various Belgian sources.

The book ‘Kunst voor das Reich’ (‘Art for the Reich’) sheds light on the international dimension of Nazi-looted art from Belgium, beginning with Hitler’s rise to power and the subsequent implementation of anti-Jewish policies, which instilled fear and uncertainty in Belgium. Under the guise of pseudo-legal justifications, the Nazis systematically looted artworks from repositories, transport companies, and private residences. Additionally, art was acquired through purchases using millions of Reichsmark, with private collectors, dealers, and auction houses eagerly participating in the illicit trade. This period witnessed an unprecedented boom in the art market.

Following the war, Belgium experienced limited success in recovering looted artworks, although some pieces were repatriated. However, many major Belgian museums now house artworks that were once part of the collections of Hitler and Göring, with murky provenance histories. The publication of ‘Kunst voor das Reich’ prompted parliamentary inquiries and restitution claims against Belgian museums, raising questions about the specific artworks being contested and the reasons behind these claims.