Ds-Nicholas de Grandmaison 45 Nicholas De Grandmaison

Here we observe a portrait study executed in pastel on paper. The subject is a man identified as Sinew Feet, also known as Aksi-pika and belonging to the Blood Indian (Cardston, Alberta) community, dated 1955. The composition focuses intently on his face and upper torso, cropped tightly within the frame.
The artist has rendered the subject with a palpable sense of immediacy. Lines are loose and expressive, contributing to a feeling of spontaneity rather than meticulous detail. A muted palette dominates – earth tones of ochre, brown, and grey – with touches of red and blue in the depiction of his clothing. The application of pastel is visible; strokes vary in pressure and direction, creating texture and suggesting volume.
The man’s expression is complex. His gaze appears directed downwards, conveying a sense of introspection or perhaps weariness. Subtle lines around his eyes and mouth suggest age and experience. A single braid hangs down the left side of his face, adorned with what appear to be feathers or other decorative elements – a marker of cultural identity and potentially ceremonial significance. The presence of earrings further reinforces this connection to tradition.
The artist’s choice to depict him in profile, partially obscured by shadow on one side, adds a layer of ambiguity. It prevents a straightforward reading of his character, inviting the viewer to contemplate what lies beyond the visible surface. This partial concealment also contributes to an air of dignity and reserve.
Subtexts within this drawing revolve around themes of cultural preservation and representation. The portrait was created during a period of significant change for Indigenous communities in Canada, marked by assimilation policies and loss of traditional ways of life. By focusing on the individual’s features and presenting him with respect, the artist seems to be attempting to capture not just a likeness but also an essence – a testament to enduring cultural identity amidst societal pressures. The inclusion of both his English name (Sinew Feet) and his Blackfoot name (Aksi-pika) highlights the intersection of two worlds, acknowledging the complexities of navigating a changing landscape. Ultimately, the drawing serves as a poignant record of a specific individual within a larger historical context.