On the night of January 31 to February 1, 1976, a major art theft occurred in France and Spain, as 119 Picasso paintings were stolen from the Palais des Papes in Avignon. This incident was significant due to the sheer number of artworks taken—119 out of 201 on display—and the historical context of the venue, which is the largest Gothic building from the Middle Ages and was home to nine popes during the 14th century. The heist created a stir on both sides of the Pyrenees, capturing media attention and public interest due to the iconic status of the artist Pablo Picasso.

The modus operandi of the theft involved three armed men who overpowered the security personnel at the Palais des Papes, as detailed in contemporary reports from the newspaper Le Monde. The audacity of the crime was compounded by the historical location, emphasizing the cultural loss represented by the stolen works. Despite the dramatic nature of the heist and its initial consequences, the story took a fortunate turn when all of the paintings were recovered eight months later in a rural area near Marseille, approximately 100 kilometers from Avignon, which alleviated some of the public concern about the fate of the iconic artworks.

The difference between this robbery and more recent art thefts, like the jewel robbery at the Louvre, which remains unresolved, highlights the unique outcome of the Picasso theft, where the stolen works were returned. The event serves as a reminder of the vulnerabilities in art security and the continuing legacy of Picasso in both France and Spain, as discussions around art thefts continue to inform the public and cultural discourse in contemporary society.