{"id":2771,"date":"2026-09-11T15:44:21","date_gmt":"2026-09-11T15:44:21","guid":{"rendered":"https:\/\/www.theartsgazette.com\/?p=2771"},"modified":"2026-09-12T10:27:21","modified_gmt":"2026-09-12T10:27:21","slug":"an-art-heist-again-this-time-its-renoir","status":"publish","type":"post","link":"https:\/\/www.theartsgazette.com\/index.php\/2026\/09\/11\/an-art-heist-again-this-time-its-renoir\/","title":{"rendered":"An Art Heist Again, This Time It&#8217;s Renoir"},"content":{"rendered":"<p>[vc_row][vc_column]<p><em>Two paintings by leading French Impressionist Pierre Auguste-Renoir (1841-1919) have been stolen. The two paintings are shown below, <\/em>The Portrait of Madame Colonna Romano <em>(1910)<\/em> and Une Jeune Femme Au Puits <em>(1886). Images courtesy: News sources on the web and Wikipedia\u00a0<\/em><\/p>\n<h3>Two paintings by the impressionist artist Pierre-Auguste Renoir have been stolen from a museum in the south of France<\/h3>\n<div class=\"empty-space marg-lg-b10\"><\/div>\n<p>The paintings, worth \u20ac9m (\u00a37.7m; $10.4m), are the latest high-profile pieces to have been stolen in a string of recent heists in Europe which have red flagged the security of art in galleries and museums.<br \/>\nOne of the most high-profile brazen heist was in October last year at the Louvre Museum in Paris, in which France\u2019s priceless crown jewels were stolen.<br \/>\nAccording to news reports, CCTV footage captured the thieves entering the Renoir museum gardens by cutting through a fence and then they cut through structures holding the frames of the paintings.<br \/>\nThe police got alerted after the museum\u2019s security alarms went off at 05:48 03:48 GMT) and reached the crime scene.<br \/>\nThe reports further stated that the CCTV footage showed thieves were wearing helmets, gloves and combat gear, and they were carrying electric knife and hacksaw.<br \/>\nThe thieves took away two paintings and abandoned two pieces in the garden while escaping the scene, which the police recovered.<br \/>\nThe two paintings missing are: <em>Portrait of Madame Colonna Romano<\/em> (1910) and <em>Jeune Femme au Puits<\/em> (1886); where the two pieces recovered are <em>Portrait of Madame Pichon<\/em> (1895) and <em>Coco Lisant<\/em> (1905).<br \/>\nThe Renoir Museum is home to 12 of the famous painter&#8217;s artworks. Opened in 1960, it was Renoir&#8217;s last home before his death in 1919, and also features many things that once belonged to him, including his easel and wheelchair, as well as photographs and personal letters.<\/p>\n[vc_single_image image=&#8221;2779&#8243; img_size=&#8221;medium&#8221; alignment=&#8221;center&#8221;][vc_single_image image=&#8221;2781&#8243; img_size=&#8221;medium&#8221; alignment=&#8221;center&#8221;][\/vc_column][\/vc_row]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Two paintings by the impressionist artist Pierre-Auguste Renoir have been<br \/>\nstolen from a museum in the south of France<\/p>\n","protected":false},"author":5,"featured_media":2778,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13],"tags":[46],"class_list":["post-2771","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-teal","tag-news"],"_links":{"self":[{"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/posts\/2771","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/comments?post=2771"}],"version-history":[{"count":5,"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/posts\/2771\/revisions"}],"predecessor-version":[{"id":2783,"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/posts\/2771\/revisions\/2783"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/media\/2778"}],"wp:attachment":[{"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/media?parent=2771"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/categories?post=2771"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.theartsgazette.com\/index.php\/wp-json\/wp\/v2\/tags?post=2771"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}