As a thief who steals from public spaces such as museums, Breitwieser believes his crimes are victimless. In The Art Thief, Finkel challenges this notion, exploring the wider cultural impact of art theft. Throughout the text, the author contrasts Breitwieser’s view of stolen artworks as additions to his collection with the loss each piece represents to society.

Finkel emphasizes that, in most cases, the value of artworks lies in more than just their monetary worth. For example, the painting of Madeleine de France, stolen by Breitwieser, represents a devastating loss of French heritage. The portrait of King Francois I’s teenage daughter has great historical significance. Painted by Corneille de Lyon shortly before Madeleine’s death, it captures a poignant moment in time. The painting’s intrinsic value also lies in the location where it was displayed, as the Royal Chateau of Blois was Madeleine’s home. Breitwieser’s theft of a statue of the Virgin Mary from a church illustrates a similar point. For the art thief, the statue is just another artwork to add to his collection. However, the Virgin Mary’s value lies in its spiritual significance and relationship to religious worship. Placed out of context in the corner of Breitwieser’s attic, the statue becomes devoid of meaning.