Deloitte Romania, in partnership with the RAD Association, has published for the first time a study dedicated to art collectors in Romania. The “Deloitte Art Market Report 2025” provides a snapshot of the preferences, motivations, and purchasing behaviours of local collectors, as well as perspectives on the potential of the domestic art market. We spoke with Corina Dimitriu, Partner at Deloitte Romania and coordinator of the report, about the reasons behind the study, the key conclusions drawn from the analysis, and the directions in which the Romanian art market might evolve in the coming years.
Angela Izvercian: Between March and April 2025, Deloitte Romania, together with the RAD Association, conducted a study of the local art market (with a sample of 104 collectors). What inspired you to carry out this first ever study dedicated to the art market in Romania?
Corina Dimitriu: Producing this first study focused on Romania’s art market continues the global initiatives of the Deloitte network in the intersection of art and finance—two fields which, despite their apparent distance, influence and amplify one another. The global Deloitte Art & Finance program was launched in 2011 with an international conference, and has continued with periodic reports made in partnership with ArtTactic, analyzing trends and developments in the global art market. In our region, colleagues in Hungary have already created two such reports, which motivated us to extend this initiative to Romania. We wished to better understand the preferences of local collectors, the particularities of the Romanian art market, and also to give visibility to the local artistic ecosystem, which is in full expansion.
A.I.: The report was launched during the third edition of RAD Art Fair, held this May. How was the study received by the art community and by the general public?
C.D.: The study was very well received, both by the artistic community and by the wider public. We were pleased to have RAD Association as a partner, and launching the report during RAD Art Fair allowed the findings and conclusions to be presented in a context that is highly relevant to the art sector. This triggered many spontaneous conversations and interesting exchanges during the fair, which continue to inspire us. The report has generated substantial interest and wide coverage in the press—from economic and cultural publications to television and radio. The volume of questions we have received confirms that our study succeeded in opening an important dialogue about the Romanian art market, capturing the attention of a diverse audience beyond just the professional sphere.
A.I.: How do studies like this contribute to raising awareness about the value of Romanian art among the general public?
C.D.: This kind of study helps increase the visibility and understanding of Romania’s art market, highlighting both the real interest in local artists and the potential of art as an alternative investment vehicle. Through the data and conclusions, the report provides a reference framework for those who are curious or interested in the field, but who may not have had the courage or confidence yet to take initial steps toward building a collection. The study confirms that there is already an active community of collectors and investors, which can encourage new participants to explore and engage in supporting Romanian art.
A.I.: What surprised you the most in the responses of Romanian collectors?
C.D.: The entire study was a premiere for Romania’s market. We were pleased by the large number of respondents and by the fact that the results align with trends in countries with more mature art markets. One significant achievement is offering an international-level profile of the local art market. The surprise element likely manifested especially among external observers, for whom such a comprehensive package of information, so well-aligned with developments in other regions—some with long artistic traditions—represented a real event.
Another noteworthy aspect is the understanding among collectors that owning works of art creates long-term value—given the aesthetic-affective dimension that often guides purchasing decisions—and the durability of art as an asset. Most respondents (66%) said they keep artworks they purchase for at least ten years, usually placing them in close proximity, at home or at work; in fact, 67% of collectors stated they have never sold any piece from their collections. Explicitly, four out of ten declared they intend to pass their collections on as heritage, reinforcing the idea of value lineage.
A.I.: Based on the conclusions of the study, how would you describe the profile of the Romanian contemporary art collector—what professional fields do they come from, what age are they, what type of art do they prefer, and what are the main criteria or motivations influencing their purchase decisions?
C.D.: The Romanian art collector is typically a professional between 25 and 55 years old, active in fields such as finance, law, real estate, technology, or cultural sectors. They are well-informed, follow specialized sources, and have a clear preference for modern and contemporary art, especially art produced since the 20th century. Their selection criteria are rooted in artistic value, though they do also consider investment potential. According to the study, aesthetic and emotional criteria dominate the decision to acquire a piece, but nearly half (46%) of respondents also take into account the artwork’s investment potential.
A.I.: Do you believe art being promoted as an investment is appropriate? What do you think would be the proper discourse for a sustainable art market?
C.D.: I believe it is wise that acquisition decisions consider the investment aspect—and our study shows this happens in nearly half the cases. However, although collectors are attentive to the value of works, that aspect does not define their choice; fewer than two in ten respondents see art as a speculative vehicle. Buying art can certainly serve as a way to diversify an investment portfolio, but fundamentally, art acquisition remains a choice guided by passion.
The proper discourse for a sustainable art market should be centered on transparency, education, and valuing local artistic creation. It’s important to encourage purchases motivated by passion and artistic merit, and equally to ensure that all stakeholders—artists, galleries, curators and art consultants, media, and collectors—contribute to providing access to informative content, expertise, and context. A sustainable market is one where both experienced collectors and newcomers feel empowered to explore, ask questions, learn, and buy knowledgeably. At the same time, trust in the long-term value of art must be promoted, and the local artistic scene supported—through supporting artists, galleries, institutions, and independent initiatives.
A.I.: In your view, what are currently the main challenges and opportunities for Romania’s art market?
C.D.: Romania’s art market is still in an emergent stage but shows clear signs of development and professionalization. The report shows increasing interest in modern and contemporary art, and the profile of the Romanian collector is starting to align with international trends: younger ages, openness to contemporary artists, attention to the digital realm, and emotional involvement in the acquisition process.
Compared with more mature European markets, Romania still has steps to take in market infrastructure, specialized education, and access to information. Yet, these very differences also present opportunities: local collectors have the chance to engage early in a growing market, and Romanian artists can be discovered and supported before they enter the international circuit.
In the medium to long term, if current trends continue and are supported coherently by all stakeholders—especially in education, digitalization, and professionalization—Romania has the potential to become a regionally relevant market in contemporary art.
