CODART is an international network for curators of art from the Low Countries. This website is the best guide to Dutch and Flemish art in museums worldwide. Art from the Low Countries of the 15th through the 19th century are widely disseminated means that CODART’s network is extensive and unique. Major holdings of Dutch and Flemish fine and decorative art are located in approximately 50 countries. Most of these collections – assembled by royals and individuals passionate about Dutch and Flemish art – are currently held in public museums. CODART aims to make this widespread cultural heritage more visible and accessible to an international public. At the same time, the organization aims to increase public knowledge of Dutch and Flemish art, thereby lending a historical phenomenon a contemporary dimension. At present, CODART connects over 600 curators from more than 300 museums in almost 50 countries. Members not only work for prestigious institutions such as the Rijksmuseum in Amsterdam, the Koninklijk Museum voor Schone Kunsten in Antwerp, the Prado in Madrid, the Metropolitan Museum of Art in New York, the Louvre in Paris, and the Hermitage in St. Petersburg, but also for less well-known museums in Australia, Cuba, Mexico, Poland and Ukraine. These curators serve a large audience: the museum-going public. As a result, CODART ultimately reaches a far broader target group than just its members: art historians, museum visitors, private collectors and art dealers; in fact, anyone interested in Dutch and Flemish art.

During 2020 CODART Conversations started,  a series of recorded conversations between five network members from various countries discussing the current situation and the impact on their museums. Our Old Masters Painting Curator, Dolores Delgado, took part in the second one.

Previously, the museum played an active role when the CODART NEGENTIEN congress  took place in Madrid from 19-21 June 2016 under the slogan “Connoisseurship: Between Intuition and Science”. Organized in conjunction with Museo Nacional del Prado, Museo Thyssen-Bornemisza and Museo Lázaro Galdiano, focused on the issue of art-historical attributions and its significance for curators.