Question: Who stole the painting from the Musee Marmottan Monet in 1985?
About the article "Impression, Sunrise", section "History".

Candidate passages:
On 28 October 1985, during daylight hours, five masked gunmen with pistols threatening security and visitors entered the museum and stole nine paintings from the collection.
Among them were "Impression, Sunrise (Impression, soleil levant)" by Claude Monet, the painting from which the Impressionism movement took its name.
Aside from that also stolen were "Camille Monet and Cousin on the Beach at Trouville", "Portrait of Jean Monet," "Portrait of Poly, Fisherman of Belle-Isle" and "Field of Tulips in Holland" also by Monet, "Bather Sitting on a Rock" and "Portrait of Monet" by Pierre-Auguste Renoir, "Young Woman at the Ball" by Berthe Morisot, and "Portrait of Monet" by Sei-ichi Naruse and were valued at $12 million.
A tip-off led to the arrest in Japan of a yakuza gangster named Shuinichi Fujikuma who had spent time in French prison for trafficking heroin and was sentenced for five years.
There he met Philippe Jamin and Youssef Khimoun who were part of an art syndicate.
Fujikuma, Jamin and Khimoun planned the Marmottan theft.
In Fujikuma's house, police found a catalog with all the stolen paintings from the museum circled.
Also found were two paintings by Jean-Baptiste-Camille Corot stolen in 1984 from a museum in France.
This led to the recovery of the stolen paintings in a small villa in Corsica in December 1990. 
Originally a hunting lodge for the Duke of Valmy, the house at the edge of the Bois de Boulogne was purchased by Jules Marmottan in 1882 who later left it to his son Paul Marmottan.
Marmottan moved into the lodge and, with an interest in the Napoleonic era, he expanded his father's collection of paintings, furniture and bronzes.
Marmottan bequeathed his home and collection to the Académie des Beaux-Arts.
The Académie opened up the house and collection as the Museum Marmottan in 1934.
Though originally a showcase for pieces from the First Empire, the nature of the museum's collection began to change with two major donations.
In 1957, Victorine Donop de Monchy gave the museum an important collection of Impressionist works that had belonged to her father, Doctor Georges de Bellio, physician to Manet, Monet, Pissarro, Sisley and Renoir, and an early supporter of the Impressionist movement.
In 1966, Claude Monet's second son, Michel Monet, left the museum his own collection of his father's work, thus creating the world's largest collection of Monet paintings.
Jacque Carlu, then curator of the museum, built a special exhibition space for the Monet collection in a lower level of the museum.
Inspired by the hall designed for Monet's Water Lilies murals in the Musée de l'Orangerie, the large, open room allows visitors to see a progression of Monet's work, as well as to view his canvases both up close and from afar.
One of the most notable pieces in the museum is Monet's Impression, Sunrise "(Impression, Soleil Levant)", the painting from which the Impressionist movement took its name.
The painting was stolen from the Musée Marmottan in 1985, but recovered five years later and returned to the permanent exhibit in 1991.
Since 1975, the museum has organized two exhibitions annually dedicated to an individual or collections including Toulouse-Lautrec in 1976, Boilly in 1984, Daumier in 1989, Goya in 1990 and Boldini in 1991.
The museum's paintings from late in the career Claude Monet were exhibit at the New Orleans Museum of Art and Fine Arts Museums of San Francisco in 1995.
The works later travels to the Walters Art Museum, San Diego Museum of Art and Portland Museum of Art in 1998-1999. 
 Monet-Rodin.
Galerie Georges Petit, Paris.
1889.
From Ingres to Gauguin: French Nineteenth Century Paintings Owned in Maryland.
Baltimore Museum of Art, Baltimore.
1951.
The Image Lost and Found.
Metropolitan Boston Arts Center, Boston.
1960.
2e Exposition de Peinture.
Galerie Durand-Ruel, Paris.
1876.
Contrasts in Impressionism.
Baltimore Museum of Art, Baltimore.
1942.
Themes and Variations in Painting and Sculpture.
Baltimore Museum of Art, Baltimore.
1948.
Monet and the Beginnings of Impressionism.
The Currier Gallery of Art, Manchester, Manchester.
1949.
Paintings by the Impressionists and Post Impressionists.
Virginia Museum of Fine Arts, Richmond.
1950.
Inaugural Exhibition at the Fort Worth Art Center.
Fort Worth Art Center, Fort Worth.
1954.
The Turn of the Century: Exhibition of Masterpieces, 1880-1920.
Denver Art Museum, Denver.
1956.
Claude Monet.
City Art Museum of Saint Louis, St. Louis; Minneapolis Institute of Arts, Minneapolis.
1957.
A Baltimorean in Paris: George A. Lucas, 1860-1909.
The Walters Art Gallery, Baltimore.
1979.
Hommage à Claude Monet (1840-1926).
Galeries nationales du Grand Palais, Paris.
1980.
Claude Monet - Auguste Rodin: Centenaire de l?Exposition de 1889.
Musee Auguste Rodin, Paris.
1989-1990.
Monet: A Retrospective.
Bridgestone Museum of Art, Tokyo; Nagoya City Art Museum, Nagoya, Aici.
1994.
Claude Monet 1840-1926.
The Art Institute of Chicago, Chicago.
1995.
Before Monet: Landscape Painting in France and Impressionist Masters: Highlights from The Walters Collection.
The Walters Art Gallery, Baltimore.
1998.
Monet: Late Paintings of Giverny from the Musee Marmottan.
San Diego Museum Of Art, San Diego; Portland Art Museum, Portland; The Walters Art Gallery, Baltimore.
1998-1999.
Faces of Impressionism: Portraits from American Collections.
Baltimore Museum of Art, Baltimore; The Museum of Fine Arts, Houston, Houston; The Cleveland Museum of Art, Cleveland.
1999-2000.
A Magnificent Age: Masterpieces from the Walters Art Museum, Baltimore.
The Nelson-Atkins Museum of Art, Kansas City; Mint Museum of Art, Charlotte; The Walters Art Museum, Baltimore.
2002-2004.
In Monet's Light: Theodore Robinson at Giverny.
Baltimore Museum of Art, Baltimore; Phoenix Art Museum, Phoenix; Wadsworth Atheneum Museum of Art, Hartford.
2004-2005.
Claude Monet (1840-1926): A Tribute to Daniel Wildenstein and Katia Granoff.
Wildenstein & Company, New York.
2007.
19th Century Masterpieces from the Walters Art Museum.
Santa Barbara Museum of Art, Santa Barbara; Jack S. Blanton Museum of Art, Austin.
2010-2011.  
The majority of Monet's paintings are kept in the Musée Marmottan Monet.
However, Monet's house is home to a collection of more than 200 Japanese ukiyo-e prints from the 18th and 19th centuries.
Among the most notable pieces are works by Kitagawa Utamaro (1753–1806), Katsushika Hokusai (1760–1849) and Utagawa Hiroshige (1797–1858). 
Dated 1872, its subject is the harbour of Le Havre in France, using very loose brush strokes that suggest rather than delineate it.
Monet explained the title later:Landscape is nothing but an impression, and an instantaneous one, hence this label that was given us, by the way because of me.
I had sent a thing done in Le Havre, from my window, sun in the mist and a few masts of boats sticking up in the foreground.
...
They asked me for a title for the catalogue, it couldn't really be taken for a view of Le Havre, and I said: 'Put "Impression".'
It was first displayed in 1874 during the first independent art show of the Impressionists (who were not yet known by that name).
Critic Louis Leroy, inspired by the painting's name, titled his hostile review of the show in "Le Charivari" newspaper, "The Exhibition of the Impressionists", thus inadvertently naming the new art movement.
He wrote:Impression—I was certain of it.
I was just telling myself that, since I was impressed, there had to be some impression in it … and what freedom, what ease of workmanship!
Wallpaper in its embryonic state is more finished than that seascape.
The painting was stolen from the Musée Marmottan Monet in 1985 by Philippe Jamin and Youssef Khimoun but recovered in 1990.
Since 1991 it has been back on display in the museum.