Ds-Nicholas de Grandmaison 29 Nicholas De Grandmaison

Here we observe a portrait depicting a man of Indigenous descent. The composition is straightforward: a bust-length view presented against a warm, muted background that allows the subjects features and attire to take precedence. The artist employed a pastel technique, evident in the visible strokes and layered application of color. This lends a textural quality to the work, particularly noticeable in the rendering of the man’s hair and clothing.
The individual is positioned facing forward, his gaze directed towards the viewer with an expression that appears both dignified and weary. Fine lines etched around his eyes and mouth suggest age and experience. His face displays a complex interplay of light and shadow, contributing to a sense of depth and realism. The artist has paid particular attention to capturing the nuances of skin tone, utilizing subtle variations in ochre, brown, and pink hues.
The man is adorned with traditional regalia. A feathered headdress sits atop his head, its feathers rendered with delicate precision. Around his neck, we see a string of beads and what appears to be a ceremonial necklace or pendant. He wears a garment that seems to be made from animal hide, the fur edges visible along the neckline. These details suggest a connection to cultural heritage and possibly a position of importance within his community.
The overall impression is one of quiet strength and resilience. The mans direct gaze establishes an immediate connection with the viewer, inviting contemplation about his life and experiences. There’s a sense of melancholy conveyed through the subtle downturn of his mouth and the slight droop of his eyelids; it hints at a history marked by change or loss.
The inscription beneath the portrait – Red Cloud, Ohathi Sa Stoney Indian (Morley, Alberta, 1943) – provides contextual information that further enriches the works meaning. It suggests a specific individual and location, grounding the portrait in a particular time and place. The inclusion of both an English name (Red Cloud) and what appears to be a traditional name (Ohathi Sa) may allude to the complexities of cultural identity and assimilation within a colonial context.

The work seems less concerned with idealization or romanticism than with presenting a realistic portrayal of an individual, imbued with dignity and bearing the marks of time and circumstance.