Who painted Grasp All, Lose All (Qui trop embrasse, mal etrient)?

Grasp All, Lose All (Qui trop embrasse, mal etrient) was painted by Pierre-Narcisse Baron Guerin in 1816.

Where can I see Grasp All, Lose All (Qui trop embrasse, mal etrient)?

Grasp All, Lose All (Qui trop embrasse, mal etrient) is held by National Gallery of Art.

What movement is Grasp All, Lose All (Qui trop embrasse, mal etrient)?

Grasp All, Lose All (Qui trop embrasse, mal etrient) is associated with Romanticism.

Artwork

Grasp All, Lose All (Qui trop embrasse, mal etrient)

Pierre-Narcisse Baron Guerin , 1816

Grasp All, Lose All (Qui trop embrasse, mal etrient) is an ink print by the Romanticist artist Pierre-Narcisse Baron Guerin. It dates from 1816 and is held in the collection of the National Gallery of Art. Pierre‑Narcisse Baron Guerin’s lithograph Grasp All, Lose All (Qui trop embrasse, mal étrient) dates to around 1816.

About this work

Overview

Pierre‑Narcisse Baron Guerin’s lithograph Grasp All, Lose All (Qui trop embrasse, mal étrient) dates to around 1816. Executed as a single‑sheet print, the work presents a figure attempting to clutch numerous objects simultaneously, creating a visual sense of overload and instability.

Subject & Meaning

The central figure is depicted in a frantic pose, arms outstretched toward a jumble of items that threaten to slip away. The French title, translating to “Who embraces too much, poorly nourishes,” underscores a moral warning: excessive ambition may lead to loss rather than gain.

Technique & Style

Created with lithography, Guerin employed the stone‑based process that allows for fluid, gestural lines and tonal variation. The print’s loose drawing quality and stark contrasts reflect early 19th‑century French printmaking, emphasizing immediacy over polished finish.

History & Provenance

The work originates from the post‑Napoleonic period, a time when lithography was gaining popularity among French artists for its relatively quick production. While specific ownership records are scarce, the print is documented in catalogues of Guerin’s oeuvre and appears in several 19th‑century print collections.