Ds-Nicholas de Grandmaison 49 Nicholas De Grandmaison

Here we observe a portrait study executed in pastel on paper. The subject is an elderly man, presumably Indigenous based on his appearance and attire. He is depicted from the chest upwards, occupying nearly the entire frame. His gaze is directed slightly off-center, conveying a sense of quiet contemplation rather than direct engagement with the viewer.
The artist employed a limited palette dominated by earthy tones – browns, ochres, creams, and muted reds – which contribute to a feeling of age and weathered dignity. The application of pastel is loose and expressive; strokes are visible, creating texture and suggesting movement in the man’s hair and clothing. This technique lends an immediacy and informality to the work, as if capturing a fleeting moment.
The mans long, braided hair, adorned with red ribbons, is a significant element. The braids themselves speak of cultural tradition and identity, while the vibrant red provides a striking contrast against his skin tone and the subdued background. A similar red adornment hangs around his neck, further emphasizing this visual motif. Fine lines etched around his eyes and mouth suggest age and experience; they also contribute to an overall impression of resilience and quiet strength.
The composition is relatively simple, focusing entirely on the subject’s face and upper body. The lack of a detailed background draws attention solely to the man himself, elevating him as the central focus. A faint indication of clothing can be discerned beneath the ribbons, but these details are secondary to the portraits primary purpose: to convey character and presence.
Subtly embedded within the work is an exploration of cultural representation. The subject’s dignified bearing and traditional adornments suggest a deliberate attempt by the artist to portray him with respect and dignity. However, the very act of creating such a portrait – a Western artistic practice applied to an Indigenous individual – introduces complexities regarding power dynamics and the gaze of the observer. The inscription at the bottom, identifying the man as Blue Wings, Otska/inima Blood Indian (Standoff), Alberta 1957, provides contextual information that further complicates this reading; it suggests a specific encounter and a documented moment in time, while also potentially reinforcing a sense of otherness through labeling.