Ds-Nicholas de Grandmaison 40 Nicholas De Grandmaison

Here we observe a portrait rendered in pastel, depicting a man identified as Walking Buffalo, Tataga Mani, a Stoney Indian from Morley, Alberta, dated 1950. The composition is straightforward: a bust-length view of the subject centered within the frame.
The artist’s focus lies primarily on capturing the individuals likeness and conveying an impression of dignity and age. The man’s face dominates the visual field; it displays deep lines etched by time and experience, suggesting resilience and perhaps hardship. His expression is complex – a subtle combination of weariness and quiet strength. The eyes, rendered with careful shading, seem to hold a depth of knowledge and introspection.
The subjects attire contributes significantly to his presence. A feathered headdress, adorned with prominent horn-like structures, rises dramatically from his head, creating a visual apex that draws the eye upward. The feathers are loosely arranged, suggesting both ceremonial significance and a degree of naturalness. Around his neck, multiple strands of beads and a single pendant – likely an amulet or symbol of personal importance – hang, adding texture and detail to the composition. The artist has employed a muted palette of browns, grays, and ochres, which lends a sense of earthiness and authenticity to the portrayal.
Subtly, the work seems to engage with themes of cultural identity and representation. The inclusion of the man’s name alongside his tribal affiliation suggests an attempt at documentation or preservation of heritage. However, the formal portrait style – the direct gaze, the dignified posture – also implies a degree of distance between the subject and the viewer, potentially reflecting the complex relationship between Indigenous peoples and Western artistic traditions. The artists choice to depict this individual in a traditional regalia could be interpreted as an effort to celebrate or romanticize a culture that was undergoing significant change during the mid-20th century. Ultimately, the drawing invites contemplation on issues of cultural preservation, representation, and the power dynamics inherent in portraiture.