Ds-Nicholas de Grandmaison 37 Nicholas De Grandmaison

Here we observe a portrait study executed in pastel on paper. The subject is a man, presumably indigenous to North America, presented from the chest upwards in a three-quarter view. He gazes directly at the viewer with a solemn and dignified expression.
The artist has employed a muted palette dominated by earthy tones – ochres, browns, grays, and touches of blue – which contribute to an overall sense of gravity and quietude. The application of pastel is visible; strokes are loose and layered, creating textural variation across the surface. This technique lends a certain immediacy and spontaneity to the work, suggesting it may be a preliminary study or a quickly rendered observation.
The man wears what appears to be ceremonial regalia. A complex headdress, adorned with feathers and possibly other decorative elements, sits atop his head, framing his face. A shawl or cloak drapes over his shoulders, its folds loosely indicated by the pastel strokes. The details of this garment are somewhat obscured, but hints of color – blues, reds, and yellows – suggest intricate patterns or designs.
The background is indistinct, a wash of neutral tones that allows the subject to remain the focal point. A subtle gradation in tone suggests depth, though the lack of sharp definition reinforces the impression of a study rather than a finished piece. The artist has signed the work in the lower right corner with what appears to be a stylized signature.
Subtexts within this portrait are layered and potentially significant. The man’s direct gaze establishes an immediate connection with the viewer, demanding attention and respect. His expression conveys a sense of stoicism and perhaps even resilience. The ceremonial attire suggests a cultural identity rooted in tradition and ritual. Given the context provided – Nootka Indian (Nanaimo, British Columbia) 1947 – the portrait likely represents an effort to document or preserve aspects of indigenous culture during a period of significant social and political change. It could be interpreted as a gesture of respect, but also potentially carries undertones of ethnographic observation, reflecting colonial power dynamics inherent in such representations. The work’s unfinished quality might suggest a desire for authenticity – capturing the essence of the subject rather than striving for idealized representation.