The Art Thief: A True Story of Love, Crime, and a Dangerous Obsession

“The carving to him is a masterpiece, just ten inches tall yet dazzlingly detailed, the first humans gazing at each other as they move to embrace, the serpent coiled around the tree of knowledge behind them, the forbidden fruit picked not bitten: humanity at the precipice of sin.”

This description is of Adam and Eve by Georg Petel—an ivory carving that depicts the moment of “Original Sin” from the Bible. A key symbol of the text, Adam and Eve encapsulates the nature of Breitwieser and Anne-Cathrine’s relationship (See: Symbols & Motifs). By yielding to the immoral temptation of theft, they emulate Eve succumbing to the “forbidden fruit.”

“To unfasten the first screw amid the steady drip of tourists and guards requires ten minutes of concentrated effort, even with the margin of error shaved thin.”

Finkel builds suspense in the narrative by providing detailed accounts of Breitwieser’s art thefts. His use of the present tense creates a sense of immediacy, immersing readers in events. Here, the author uses tropes of the heist genre, emphasizing the audacity of Breitwieser’s crime and the patience and skill required for its success.

“The works include dozens of period greats—Cranach, Brueghel, Boucher, Watteau, Goyen, Dürer—so many that the rooms seem to swirl with color, amplified by the radiance of ivory, added to the sparkle of silver, multiplied by the glitter of gold. Everything, in total, has been estimated by art journalists to be worth as much as two billion dollars, all stashed in an attic lair in a nondescript house near a hardscrabble town. The young couple has conjured a reality that surpasses most fantasies. They live inside a treasure chest.”

In this description of Breitwieser’s attic, the opulence of its stolen contents is juxtaposed with the mundane and unattractive nature of its location. The contrast highlights how the attic—a key motif in the text—represents a retreat from reality for the art thief (See: Symbols & Motifs).

“He takes only works that stir him emotionally, and seldom the most valuable piece in a place. He feels no remorse when he steals because museums, in his deviant view, are really just prisons for art. They’re often crowded and noisy, with limited visiting hours and uncomfortable seats, offering no calm place to reflect or recline.”

Here, Breitwieser’s motivations for art theft are conveyed, underlining the theme of The Psychological Aspects of Criminal Behavior. Ultimately, the art thief’s aesthetic taste dictates the items he steals. Meanwhile, he justifies his crimes by presenting himself as a liberator of art. Finkel clarifies that he does not share Breitwieser’s dismissive view of museums, describing his viewpoint as “deviant.”

“The blue plastic box had moved with him from the basement of his grand childhood home to an Ikea bookshelf in a cramped apartment. The belt buckle joined his other sacred objects, all of which to him were the definition of perfect: they would never enrage him, bully him, or abandon him.”

As a child, Breitwieser keeps treasured artifacts in a blue plastic box. The box, containing a fragment from a Roman coffin and a belt buckle stolen from a museum, symbolizes his compulsion to steal and hoard historic items (See: Symbols & Motifs).

“When Breitwieser sees a beautiful artwork, he says that a tremor builds in his fingers, followed by buzzy, tactile vibrations that spread over his skin. It’s as if an electric circuit has been completed between him and the art, fine-tuning his senses and jolting his thoughts. The feeling culminating in what Breitweiser calls a coup de Coeur—literally, a blow to the heart.”

Finkel illustrates his theme of The Appreciation and Power of Art by describing Breitwieser’s “coup de Coeur.” While the art thief’s sensitivity to art’s beauty is extreme, the author suggests it is not unique. Art has the power to evoke both a physical and emotional response in humans.

“Art is my drug.”

In his exploration of Breitwieser’s psychology, the author suggests the art thief’s compulsion to illegally collect art is a genuine addiction. Here, Breitwieser confirms that art has the same effect on him as any intoxicating substance.

“A unique and traceable item, whose image will likely appear on the news, cannot safely be seen by anyone. It’s a burden. Displaying a stolen work is risky, and trying to sell one elevates the risk far more.”

Finkel asserts that Breitwieser successfully evades detection for so long because he does not steal for monetary gain. Here, the author explains that the major pitfall of art theft is that masterpieces are easily recognized, presenting a serious risk for thieves.

“Breitwieser believes that their high-toned criminal style, brandishing Hugo Boss suits and Chanel skirts instead of Uzis and bombs, greatly reduces the chance of being identified by the witnesses.”

An important element of Breitwieser and Anne-Catherine’s modus operandi is wearing designer clothes, bought second-hand, to make them appear affluent. Breitwieser suggests that the technique is more effective than carrying out a heist with weapons, as nobody suspects them.

“She is not exactly a thief, but she’s not not a thief either. She’s more like a magician’s assistant, hovering in the background during a trick, making sure the overly curious are gently diverted.”

The role of Anne-Catherine in Breitwieser’s crimes is both minimal and integral to his success. While she rarely handles the stolen goods, she is a highly effective lookout and assessor of risk.

“He wants to own better art than his father’s, and more of it. And gloriously adorn the walls of his attic, and see ever more treasure as he’s entwined in bed with Anne-Catherine. He hopes as well to satisfy some hole inside him, though no matter how much he steals, the emptiness never feels filled.”

Exploring the theme of The Psychological Aspects of Criminal Behavior, Finkel suggests Breitwieser’s motivation springs from a complex mix of impulses. By collecting stolen art, he is recapturing his childhood and gaining an advantage over the father who left him. The author also implies that Breitwieser’s compulsion will never be satisfied, as he is seeking to fill a psychological void.

“Some of their achievement, though, is due to an uncomfortable truth: many regional museums rely for security, to a shocking degree, on public trust. Protecting a museum can feel paradoxical, because its mission isn’t to conceal valuables but to share, in a way that makes you feel as close to a piece as possible, unencumbered by any security apparatus.”

Throughout the text, Finkel acknowledges that Breitwieser and Anne-Catherine are talented thieves. However, they also unfairly prey upon the vulnerability of museums. The couple abuses the philosophies of accessibility and trust that museums rely upon.

“In regional museums, there’s sometimes an implicit social pact in force. The museum will permit close access to priceless objects that are marginally secured. And the public, in turn, will leave these objects undisturbed, respectful of the idea that works of communal heritage, often suffused with spiritual significance and a sense of place, should be open and accessible to all. Breitwieser, with the support of Anne-Catherine, is a cancer on this public good. He rewards himself and deprives everyone else.”

Here, Finkel explores The Impact of Art Theft on society. He condemns Breitwieser and Anne-Catherine’s actions as selfish, pointing out that stealing from museums deprives the public of access to artwork of cultural, historical, and spiritual importance.

“Knowing when not to take an item, however deflating, is mandatory for a thief expecting career longevity.”

Finkel foreshadows Breitwieser’s downfall by emphasizing that an assessment of risk is vital for thieves who want to evade capture. Breitwieser lacks this ability, relying on Anne-Catherine’s judgment. Consequently, he becomes increasingly reckless when his girlfriend no longer participates in the crimes.

“Each pilfered work represents another reason he steals, Breitwieser says, and everyone in the art world is a thief in some way. If he doesn’t get what he wants, he expects others will.”

Breitweiser’s reasoning highlights the historical context of the art world. Art theft is common, not only by criminal individuals but also by imperialist nations who seize artifacts from other countries to display in their museums (See: Background).

“Our big brains, the most complex instruments known in the universe, have been released from the vigilance of evading predators and seeking sustenance, permitting our imagination to gambol and explore, to dream while awake, to share visions of God. Art signals our freedom. It exists because we’ve won the evolutionary war.”

In analyzing The Appreciation and Power of Art, Finkel argues that the human appreciation of artworks illustrates our advanced evolutionary state. By continuing to create and admire art, despite its lack of utilitarian value, we display a sophisticated level of consciousness.

“Breitwieser has always insisted that protecting the art is his primary concern, but a delicate tapestry like the one from Gruyères doesn’t benefit from flying out a window or being stuffed under a bed.”

Breitwieser’s declining standards are illustrated as he begins to neglect and mistreat the artwork he steals. His disrespectful treatment of the historic tapestry undermines his claim that he takes better care of his collection than any museum.

“The attic is less a room in the Louvre than the world’s most valuable junkyard. It’s just one thing after another, without end.”

Here, Finkel describes the attic as Breitwieser’s careful curation of his stolen collection turns into indiscriminate hoarding. The attic’s condition reflects the art thief’s increasingly obsessive and chaotic state of mind (See: Symbols & Motifs).

“Breitwieser, usually astute at reading a scene but broken down badly by jail, realizes that he’s been outplayed. For the first time in his life, he has no moves left. It’s checkmate.”

This passage highlights the effects of arrest and imprisonment on Breitwieser. The master criminal who once believed himself invincible realizes that he has been outsmarted. Finkel uses the analogy of a chess game to illustrate how the power dynamic between the art thief and the investigating police officers is turned on its head.

“If people like Breitwieser are permitted in civil society, asserts the Swiss prosecutor, civilization is doomed.”

The Impact of Art Theft is highlighted by the prosecution’s argument during Breitwieser’s trial. Breitwieser prides himself on his cultivated manner and likes to think his crimes are victimless. However, the prosecution points out the “barbarity” of his thefts. The art thief abuses the assumption of museums that their visitors will behave in a “civilized” way. His actions also deprive society of its cultural heritage.

“His apartment is spiritless, hardly better than prison and in some ways worse: now that he’s free to display what he wants, possessing no art hurts even more. He feels as though he lived a hundred lifetimes while stealing, and at age thirty-four he’s old and defeated.”

After Breitwieser’s release from prison, he lives in a cheap, sparsely-furnished apartment. The stark contrast with the opulence of his attic emphasizes the extent of his downfall.

“Breitwieser has become like every other art thief.”

At the beginning of the text, the author concurs with Breitwieser’s view that he is different from other art thieves. The fact that he does not steal for monetary gain and only takes artwork he is passionate about elevates his motivations, making him an interesting subject. Ultimately, however, Breitwieser’s standards decline, undermining his image as a “gentleman” thief. Finkel suggests that when Breitwieser resorts to shoplifting and stealing for profit, he lowers himself to the level of “common” criminals.

“His previous visit to this museum might have marked the high point of his life, the pinnacle. There will never be a grander moment than driving home with Anne-Catherine, windows down, ivory in the trunk, young and triumphant.”

Here, Breitwieser views Adam and Eve—the carving he steals at the beginning of the text. His return to visit the piece, now restored to the museum, brings the narrative full circle. Breitwieser’s thought processes highlight how the meaning of Adam and Eve has changed for him. The carving that once represented a glorious future of crime with Anne-Catherine now symbolizes a past he can never return to (See: Symbols & Motifs).