Ds-Nicholas de Grandmaison 44 Nicholas De Grandmaison

Here we observe a portrait study rendered in oil pastel on paper. The subject is a man, presumably Indigenous based on his appearance and adornments, presented from the chest upwards against a muted, earthy background. His gaze is direct, confronting the viewer with an intensity that suggests both dignity and perhaps a guardedness.
The artist has employed a loose, expressive style; lines are visible and strokes are not blended smoothly, contributing to a sense of immediacy and capturing a fleeting impression rather than striving for photographic realism. The color palette is restrained – primarily browns, ochres, and creams – with accents of red in the neckerchief or scarf he wears. This limited range reinforces the somber mood and emphasizes the subject’s features.
A prominent feature is his long braid, adorned with feathers and beads, which descends down his back. Around his neck, a string of teeth hangs as a necklace, likely carrying cultural significance related to hunting prowess or tribal affiliation. The artist has paid particular attention to rendering the texture of his skin, highlighting wrinkles around the eyes and mouth that speak to age and experience.
The composition is straightforward; the subject occupies nearly the entire frame, ensuring he remains the focal point. The lack of elaborate background further concentrates attention on his face and expression. A handwritten inscription at the bottom identifies the work as Riding at the Door, Itsoksi-ksisto-kitopi Blood Indian (Cardston, Alberta) 1955, providing a contextual anchor to a specific time and place.
Subtly, the portrait conveys themes of cultural identity and resilience. The man’s direct gaze can be interpreted as an assertion of selfhood in the face of potential marginalization or historical displacement. The traditional adornments suggest a connection to ancestral customs and a refusal to relinquish heritage. The title Riding at the Door hints at a presence, perhaps a watchful guardian or someone poised between worlds – tradition and modernity, past and future. Ultimately, the work seems intended not merely as a likeness but as an acknowledgement of a person’s inherent worth and cultural significance.