Ds-Nicholas de Grandmaison 07 Nicholas De Grandmaison

Here we observe a portrait study rendered in pastel on paper. The subject is an elderly individual, presumably Indigenous based on contextual information, presented against a dark, undefined background. The composition is straightforward: a bust-length view centered within the frame.
The artist employed a loose and expressive technique. Lines are visible, suggesting a rapid execution focused on capturing likeness rather than meticulous detail. A warm palette dominates – ochres, yellows, pinks, and browns – which lends the face a gentle luminosity despite the somber backdrop. The application of pastel is uneven; areas appear lightly sketched while others possess greater saturation, creating textural variation across the surface. This contributes to an impression of immediacy and spontaneity.
The subject’s features are characterized by deep lines etched into the skin, indicative of age and experience. Eyes hold a direct gaze, conveying both dignity and perhaps a quiet resilience. The clothing appears simple – a dark garment with hints of pink or red visible at the collar – and does not distract from the central focus on the individuals face.
Subtexts within this work revolve around representation and encounter. The title, Blue Flash of Lightning, Cheepaythaquaksoon, suggests a name given by or to the subject, potentially indicating an attempt at bridging cultural divides through nomenclature. The location, Waterton Park, Alberta, 1934, places the portrait within a specific historical context – a period marked by colonial interactions and shifting Indigenous-settler relations in Canada. The work might be interpreted as an effort to document or memorialize an individual from a culture undergoing significant change. However, it also raises questions about the power dynamics inherent in such representations; who commissioned this portrait, and what was their intent? The artists choice of medium – pastel, often associated with intimate studies – further suggests a personal connection, though the nature of that relationship remains ambiguous. Ultimately, the painting invites reflection on themes of identity, cultural exchange, and the complexities of representation in a colonial setting.