Understanding the Dutch contemporary art market today

Insights from Root Gallery on shifting dynamics, younger buyers and the new role of galleries.

Over the past few decades, the Dutch art world has changed in quiet but meaningful ways. Where the post-war era was marked by generous public support - including state-backed income schemes like BKR and WW&IK - today’s landscape looks very different.

Support has shifted away from structural subsidy towards market sustainability. Private buyers now play a far more prominent role. And while the Netherlands has never been a “buying culture” in the same way as Belgium, we’re seeing a slow but steady shift.

From state support to personal connection

In the past, many Dutch artists could develop their practice without having to sell, and many galleries functioned as content-driven, rather than commercially driven, spaces. Collecting was the exception, not the rule, and most acquisitions were made by public institutions or a small group of private collectors.
Today, however, the field is more entrepreneurial. At Root Gallery, we’ve seen how artists, galleries, and collectors have adapted, building longer-term relationships and growing together over time.

The decline of old-school collections

In the second half of the 20th century, several influential collectors in the Netherlands built large, thoughtful collections, often with museum-scale ambitions. Many of these individuals are now ageing, and their approach isn’t always continued by the next generation. Instead, we see something different: more people buying, but fewer collections on that same scale.

Buying art used to mean going to a gallery

Not long ago, buying art meant stepping into a gallery, asking for prices (often not listed), and navigating a space that could feel intimidating to newcomers. That barrier is starting to break down. Today, many people first discover art online, through platforms like GalleryViewer, curated newsletters, or even Instagram stories.

At Root Gallery, we’ve seen this shift play out clearly: visitors may follow us online for months before reaching out, and by then, they already know which artists they connect with.

But while online discovery is here to stay, the heart of collecting hasn’t changed: trust, conversation, and shared curiosity. Whether through a studio visit, a call, or a coffee at the gallery, personal connection remains at the centre of every meaningful acquisition.

Guest attending a private viewing at Root Gallery, engaging with emerging artists and new works. — Photography by Jacqueline Fuijkschot

A couple viewing an abstract painting by a Dutch artist at Root Gallery, discussing its placement at home. — Photography by Jacqueline Fuijkschot

Younger buyers, different motivations

What also stands out is the type of collector stepping forward. We’re seeing fewer large, legacy-style private collections being built, the kind amassed over decades by a single, often older, collector. Instead, a new generation is engaging: professionals in their 30s and 40s who buy with their gut, not with a spreadsheet.

These buyers often start small - a work on paper, or a limited edition photo - and build over time. Their motivation isn’t necessarily investment, but resonance. They want to live with art that feels personal, not just prestigious.

Comparing with Belgium

This contrasts with the neighbouring Belgian art scene, where private collecting has long played a central role. Belgium’s collector culture is more deeply embedded, supported by strong auction houses (like De Vuyst and Campo & Campo), established art schools, and a tradition of private patronage.

In the Netherlands, by contrast, collecting was for many years less widespread, partly because state support reduced the urgency of private acquisition. Now that this support has decreased, private interest is rising. But the Dutch approach tends to remain cautious, sincere, and informed.

Buyers here ask thoughtful questions. They want to understand the work, not just its value. And they’re less interested in hype than in substance.

The role of galleries today

In this shifting landscape, galleries have taken on a new role. We’re not just presenting art; we’re guiding people through the process. From understanding an artist’s practice to thinking about context, placement, or future collecting.

Especially for first-time buyers, this kind of support can make all the difference. And it’s exactly what we aim to provide: not just access, but insight.

Interestingly, the gallery landscape itself used to be subsidised. In Rotterdam, for example, galleries could once receive public funding, not just for exhibitions, but simply for existing and contributing to the city’s cultural fabric. While those structures have largely disappeared, they shaped a generation of galleries that could prioritise content, experimentation, and long-term development without relying on market sales alone.

Rooted locally, engaged globally

Although Root Gallery presents itself internationally - and our website is in English - most of our collectors are based in the Netherlands. That’s no coincidence. Dutch buyers tend to value quality, clarity, and a sincere connection to the work. They respond to boldness, in colour, form or material, but not to spectacle for its own sake.

This collector landscape may be changing, but the shift is promising. While we see fewer large-scale collections like in previous generations, we’re witnessing something just as meaningful: more people stepping into the art world with curiosity and care. Often starting small, often returning.

At the same time, the market remains difficult to quantify. Unlike in Belgium, where data from auctions and secondary sales gives a clearer picture, the Dutch art market operates largely in the shadows: quietly, personally, and without central registration. Most purchases happen privately, based on trust and conversation, not headlines.

And maybe that’s what makes it so compelling. In this quieter model, there is space: for emerging voices, for sincere dialogue, and for lasting relationships between artists, galleries, and collectors who grow together.