Meet Vjeran Tomic, the world’s most notorious paintings bandit

Tomic, narrating the story from his perspective, delves into every detail with poise. That's where the film truly shines – Tomic, now a free man, speaks with utmost calm, clarity, and confidence.

Unfazed by the prospect of his testimony being used against him, he almost boasts about his ability to steal paintings from a place presumed to be secure, especially in the stable city of Paris.

Tomic also shares a glimpse into his distant past, recounting his childhood devoid of parental warmth and care, better exposing the complexities of his character.

Growing up without a typical family unit, he reflects on the profound "spiritual emptiness" that shaped him, stating: "I wasn't raised by parents; I raised myself."

Who is Tomic?

Born in Paris in 1968, Tomic was a toddler when his mother, involved in a car accident, became incapable of caring for him. Sent to Bosnia, he was raised by his uncle and aunt.

He came back to Paris at the age of ten but struggled to integrate and adapt, living a troubled childhood reminiscent of Charles Dickens's Oliver Twist, marked by deprivation, neglect, adversity and marginalisation.

Tomic recounts a tumultuous past where his father subjected him to abuse and punishment; he received neither kindness nor care from anyone.

Soon after, he picked up the habit of petty theft, driven by a desire for fast, effortless gains. Though joining the army brought him a sense of self-worth and purpose, that didn't last long. After discharge, he experienced loneliness and aimlessness once again, returning to his old habits.

He developed his tools and skills and earned the media moniker of "Spider-Man" due to his remarkable ability to climb buildings, targeting affluent Parisian neighbourhoods like the Avenue Foch.

Tomic was keen on stealing from opulent quarters. In one instance, he stole paintings by Auguste Renoir (1841-1919), which got him a taste of punishment; he jests: "I love Renoir, but he landed me in jail."

However, these incidents, including the Renoir affair, pass fleetingly in the film, with the primary focus being the museum heist.

There's no hint of malevolence in Tomic's demeanour as he details his history. He appears a peaceful and amiable man, caught up in crime because of his circumstances. Notably, he never harmed anyone during his thefts, intentionally targeting the wealthy while exhibiting compassion toward the homeless in Paris.

In a gesture reminiscent of Robin Hood, Tomic would accompany some of them to restaurants and bars. One such case is highlighted in the film – a homeless man by the name of Guillaume spoke of the care he received from Tomic.

A friend of Tomic's also provides a testimony, describing him as a loyal and devoted person, challenging traditional perceptions of a common thief.

Details of the heist

In truth, by the time the infamous museum gig fell into Tomic's lap, he had thought he was past his days of burglary.

Much like in heist flicks where a thief decides on one last job before hanging up their boots, Tomic reveals that he grew weary of small-time thefts, squandering his earnings in clubs and bars.

Frustrated with this cycle, he resolved to execute one final significant heist, intending to leave this "dark profession" forever.

After securing a substantial sum from said operation, he bid farewell (or so he thought) to a life of crime. He wanted to buy a boat and sail away, wandering into the boundless blue sea and seeking redemption from his past – though he leaves the specifics of his destination and purpose vague.

But fate had other plans. In disposing of his loot, Tomic engaged with a French art dealer, Jean-Michel Corvez, who encouraged him to steal valuable paintings from the Museum of Modern Art in Paris, offering a lucrative reward.

Tomic recounts the meticulous preparation he underwent, including honing his skills and craftsmanship. He surveilled the museum for days, familiarising himself with exits, entrances, and routines of the night security guards.

Observing the pricy artwork hung on the walls, he discovered that the alarm systems were disabled – a fact later confirmed by museum security officials during investigations.

Armed with this knowledge, he acquired the necessary tools and, over the course of five nights, visited the museum to loosen the screws of the window frame he would later use as his point of entry.

On that fateful night, he successfully stole a handful of paintings and delivered them in the trunk of his car to a garage; in return, Corvez promised Tomic $50,000 for each painting.

Aftermath and arrests

The following day, Tomic saw news of the heist splashed across the morning broadcasts. French authorities had initiated extensive investigations, though they failed to find any evidence leading them back to Tomic.

Suspicions surrounded him nonetheless due to his criminal record, leading to him being surveilled.

Meanwhile, Corvez breached his agreement with Tomic, only giving him $40,000 and delaying the remainder of the payment for months. Faced with this, Tomic resorted to theft once again, leading to his arrest.

In custody, he confessed without pressure, revealing that he was the one behind the five-painting heist.

Corvez, implicated by Tomic's account, was summoned for questioning, and sentenced to seven years in prison. Another accused, Yonathan Birn, received a six-year sentence.

Despite exhaustive efforts, however, French authorities couldn't extract confessions regarding the location of the five paintings, which was their primary goal.

The defendants claimed that Birn, in a fit of unexplained anger, tore the paintings and threw them into a dumpster.

However, investigators remained unconvinced, fueled by a lingering hope that was expressed by some in the documentary; they still hope the paintings might eventually resurface.

investigators praised Tomic for his cooperation. In contrast, Corvez and Birn, associated with a network that specialises in selling stolen art on the black market, appeared unhelpful and obstinate.

Indeed, they seemed intent on misleading the investigation, highlighting their distaste toward law enforcement.

A history of heists

Art has served as bait for thieves and black market dealers throughout time – a gateway to quick money. In some cases, authorities succeed in recovering stolen paintings while others vanish forever.

Among the most infamous heists in history is the theft of Rembrandt's painting Jacques de Gheyn III, not stolen once but four times in 1966, 1973, 1981, and 1986. The painting was nicknamed Takeaway Rembrandt. Miraculously, it was recovered after each theft.

The Mona Lisa by Leonardo da Vinci was stolen in 1911 from the Louvre Museum in Paris. Italian Vincenzo Peruggia managed to hide it under his clothes, posing as a museum staffer. However, in 1913, an Italian dealer contacted the police after recognising the painting while the thief was attempting to sell it.

Another major incident occurred in March 1990 at a museum in Boston, USA. Two thieves dressed as police officers approached security guards, claiming to have received a report of disturbances inside the museum. Violating security protocols, the guards allowed them to enter.

The thieves then restrained the guards and stole valuable paintings, including Rembrandt's The Storm on the Sea of Galilee, Johannes Vermeer's The Concert, and works by Édouard Manet and the French sculptor and painter Edgar Degas.

The case remains unsolved, with empty frames still hanging on the museum walls, in the hope that the paintings will one day reappear.

The Scream by Edvard Munch was stolen in 1994 from a museum in Norway, coinciding with the start of the Winter Olympics there. As one of the most famous paintings in the world, the thieves were unable to resell it.

One month later, the authorities received a ransom demand of $1mn for the return of the painting. Subsequently, officers managed to apprehend the thieves, arresting four of them, including the Norwegian footballer Pål Enger, destroying his reputation and career.

Another recent documentary titled The Man Who Stole the Scream (2023) explored the life of the former soccer player turned art thief, with many aspects paralleling Tomic's life.

On the big screen, a long list of heist films have captivated audiences, some purely fictional and others inspired by real events.

There's a good reason that paintings are such a popular target for thieves – a single canvas, not exceeding one square meter, can be worth millions of dollars.

According to a United Nations report, the theft and trade of stolen paintings is the fourth most profitable crime after drugs, money laundering, and arms trafficking.

Today, museums and galleries have implemented tighter security measures, while art thieves persistently evolve their methods and tools. Thus, the game of cat and mouse continues.