Ds-Nicholas de Grandmaison 08 Nicholas De Grandmaison

The pastel drawing presents a portrait of an elderly man, likely Indigenous based on his attire and facial features. He is positioned centrally against a dark, indistinct background that allows for a concentrated focus on his visage. The artist has rendered him in a three-quarter view, which conveys a sense of directness and intimacy.
The subject’s face dominates the composition. Deep lines etch themselves into his skin, suggesting age and experience. His eyes are deeply set and possess an intensity that seems to penetrate beyond the surface. A slight downturn of the mouth hints at melancholy or perhaps quiet contemplation. The artist has meticulously captured the texture of his weathered skin using a range of pastel tones – ochres, browns, and grays – creating a palpable sense of realism.
His hair is predominantly white, streaked with darker strands, and falls in loose, unkempt waves around his face. Braids adorned with what appear to be leather or fabric strips hang down the sides of his chest, indicating cultural significance and possibly ceremonial importance. He wears a garment that appears to be made of fur or animal hide, adding another layer of visual texture and reinforcing his connection to nature and traditional practices.
The palette is restrained, primarily consisting of earthy tones which contribute to an overall somber mood. The limited color range emphasizes the subject’s age and perhaps alludes to a life lived in harsh conditions. The use of soft pastels creates a hazy effect, softening the edges and contributing to a sense of quiet dignity.
Subtly, the portrait seems to explore themes of resilience, wisdom, and the passage of time. It is not merely a depiction of an individual but appears intended as a record – a visual testament to a life lived within a specific cultural context. The gaze of the subject suggests both strength and vulnerability, inviting reflection on his experiences and the history he embodies. The inscription at the bottom provides contextual information about his name (Buffalo Bow, Kahmoostoos-wahchappe) and location (Cree Indian (Balcarres, Saskatchewan) 1930), further grounding the portrait within a particular time and place.