UNews - Nicholas de Grandmaison

U of L launches Centre for Oral History and Tradition

trevor.kenney — Tue, 26 Nov 2013 17:29:59 +0000

The ��Ѹ��Դ��߿�Ƭ of Lethbridge has launched a new institute aimed at ensuring southern Alberta’s oral history is preserved and accessible.

The Centre for Oral History and Tradition (COHT) will not only advance research disciplines pertaining to oral history in the academic world, but also collaborate with community organizations across southern Alberta to help preserve, study and understand the region’s oral history.

The de Grandmaison oral history project is an example of the work that the Centre for Oral History and Tradition will undertake.

“The Institute will strive to preserve and analyze oral history sources,” says Dr. Heidi MacDonald, director of the new centre. “Oral histories contain valuable information that is often not available in any other form. Preserving these narratives is critical to understanding many fields of study. Our research will have an enduring relevance well into the future because the oral histories we capture will be studied for many more generations.”

��Ѹ��Դ��߿�Ƭ of Lethbridge faculty and graduate students involved in the institute have expertise in such areas as employment, health, sport, gender, religion, culture and local history. Together with community partners, including the Galt Museum and Archives, the centre will provide workshops and other support in order to identify, establish and assist oral history projects undertaken in southern Alberta. The centre is also committed to ensuring these projects are made available to the public.

“We want to be a portal for the dissemination of oral history to other researchers as well as provide a place where this knowledge is available to the people of southern Alberta and beyond. In addition to sharing the research we at the centre are interested in, we want to build this capacity with community groups that have an interest in preserving their own oral histories,” says MacDonald.

Collecting and preserving oral histories is becoming increasingly important. MacDonald says information is continually becoming more transient, which will have implications for the future. For example, fewer people keep diaries, and in the workplace, e-mails are easily deleted.

“Sources that historians have traditionally used are becoming rare. Far less information is hitting paper today compared to even a decade ago,” says MacDonald. “In addition, oral histories can provide personal insights that expand on more standard histories.”

The announcement of the COHT was made at the Galt Museum & Archives. The event included a display demonstrating an oral history project undertaken by the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Gallery and ��Ѹ��Դ��߿�Ƭ Archives, an initiative that supports the gallery’s vast Nicholas de Grandmaison collection of artworks and artifacts.

As an itinerant painter, de Grandmaison often stayed with ranchers, farmers and Aboriginal families for several days at a time while he painted their portraits. His unique lifestyle, character and attitude having left a plethora of interesting experiences that augment the context of his paintings. These stories complement the ��Ѹ��Դ��߿�Ƭ's de Grandmaison collection.

The U of L is home to 12 different centres and institutes that foster and promote research expertise and capabilities as well as provide a platform for trans-disciplinary research.

The U of L’s Vice-President (Research), Dr. Dan Weeks, says these centres and institutes facilitate the formation of unique and creative research and teaching partnerships inside and outside of the ��Ѹ��Դ��߿�Ƭ.

“The ��Ѹ��Դ��߿�Ƭ of Lethbridge’s initiative to create new centres and institutes allows for greater collaboration among researchers and makes research more publicly available. The Centre for Oral History and Tradition will make an incredibly positive contribution to southern Alberta communities through its work,” says Weeks.

Oral History Project brings the past to life

david.kirby — Fri, 22 Nov 2013 15:31:23 +0000

The late English writer Rudyard Kipling once reflected, “If history were taught in the form of stories, it would never be forgotten.” ��Ѹ��Դ��߿�Ƭ of Lethbridge students Karissa Patton (BA ’13) and Maria Livingston would likely agree with that observation.

U of L master’s student Karissa Patton (BA ’13) and undergraduate student Maria Livingston are investigating the past as part of the Oral History Project. (Photo by Leslie Ohene-Adjei)

Last summer, Patton, who is now pursuing a master’s degree in history, and Livingston, a third-year Native American studies student, worked together on the Oral History Project, a story-gathering initiative supported by the U of L Art Gallery, ��Ѹ��Դ��߿�Ƭ Archives and the Centre for Oral History and Tradition.

Today Livingston continues to be involved in the project, which is aimed at helping people to enhance their understanding of artist Nicholas de Grandmaison (1892-1978) and his unique connections to First Nations communities. The ��Ѹ��Դ��߿�Ƭ has a vast collection of de Grandmaison artwork and artifacts, including 67 original pastel portraits that were donated to the U of L Art Gallery by BMO Financial Group earlier this year along with funding to support research related to the art gift.

A cultural icon of southern Alberta and one of the most important portraitists of First Nations people, de Grandmaison was a nomadic painter who often stayed with ranchers, farmers and aboriginal families for several days at a time while he painted their portraits. His work not only documented the history of First Nations people in Canada, but was also unmatched in its ability to capture the unique personalities of those who sat for portraits.

With guidance from U of L archivist, Mike Perry (MEd ’06), and professor Lisa Doolittle of the Department of Theatre and Dramatic Arts, Patton and Livingston contacted members of the Kainai, Siksika and Piikani First Nations, searching for and interviewing people who may have had contact either with de Grandmaison or any of the subjects featured in his paintings.

“Collecting individual narratives is important because people aren’t writing things down as much as they once did. Also, the stories that have been included in historical archives in the past have often just been those of famous people and politicians,” says Patton.

To ensure the full range of stories compiled in the oral history project are shared for years to come, Livingston is now working on an educational program for high school students and an online resource for middle school students. The initiatives are a way of giving back to First Nations communities and youth, says Livingston, who is of Cree heritage.

“I’m thankful for the opportunity to work on this project,” she says. “Along with hearing great storytelling, I’ve learned more about First Nations culture and history, and that complements what I’ve been learning in school.”

The ��Ѹ��Դ��߿�Ƭ officially launched the Centre for Oral History and Tradition on Tuesday, November 26, 2013 at the Galt Museum & Archives. To view the news release, follow this link.

Oral History Project brings the past to life

trevor.kenney — Tue, 22 Oct 2013 22:38:48 +0000

The late English writer Rudyard Kipling once reflected, “If history were taught in the form of stories, it would never be forgotten.”

��Ѹ��Դ��߿�Ƭ of Lethbridge students Karissa Patton (BA ’13) and Maria Livingston would likely agree with that observation.

Karissa Patton, left, and Maria Livingston are helping to bring the past to life through the Oral History Project.

Last summer, Patton, who is now pursuing a master’s degree in history, and Livingston, a third-year Native American Studies student, worked together on the Oral History Project, a story-gathering initiative supported by the U of L Art Gallery, ��Ѹ��Դ��߿�Ƭ Archives and Centre for Oral History and Tradition.

Today, Livingston continues to be involved in the project, which is aimed at helping people to enhance their understanding of artist Nicholas de Grandmaison (1892-1978) and his unique connections to First Nations communities. The ��Ѹ��Դ��߿�Ƭ has a vast collection of de Grandmaison artwork and artifacts, including 67 original pastel portraits that were donated to the art gallery by BMO Financial Group earlier this year along with funding to support research related to the art gift.

A cultural icon of southern Alberta and one of the most important portraitists of First Nations people, de Grandmaison was a nomadic painter who often stayed with ranchers, farmers and Aboriginal families for several days at a time while he painted their portraits. His work not only documented the history of First Nations people in Canada, but was also unmatched in its ability to capture the unique personalities of those who sat for portraits.

With guidance from U of L archivist Mike Perry and Lisa Doolittle of the Department of Theatre and Dramatic Arts, Patton and Livingston contacted members of the Kainai, Siksika and Piikani First Nations, searching for – and interviewing – people who may have had contact either with de Grandmaison or any of the subjects featured in his paintings.

To ensure the full range of stories compiled in the oral history project are shared for years to come, Livingston is now working on an educational program and online resource for high school students and middle school students, respectively. The initiatives are a way of giving back to First Nations communities and youth, says Livingston, who is of Cree heritage.

Closing de Grandmaison

trevor.kenney — Wed, 19 Jun 2013 17:40:51 +0000

The Nicholas de Grandmaison: Recent Acquisitions exhibit Closing Reception and Hoop Dance Performance takes place Tuesday, June 25 at 7 p.m. in the Main Gallery

Each face, with its deep lines, juxtaposing colours and gentle strokes, tells a story – a story of honour, dignity and character; joy and sorrow; life and death – a story of a people in the midst of transition.

By capturing the faces of Canada's First Nations people, painter Nicholas de Grandmaison (1892 – 1978) left a deeply personal record of history.

A Russian aristocrat forced out of his homeland, a prisoner of war and eventually an immigrant to Canada, de Grandmaison felt an intimate connection to the First Nations people and empathized with the massive cultural changes they were forced to endure during the mid-20th century.

From the 1930s up until his death, de Grandmaison was struck with an urgency to paint the Plains Indians because he believed their way of life was quickly disappearing.

Nicholas de Grandmaison travelled across the Canadian Prairies documenting history through the faces he painted. Recognized as one of the most significant portraitists of First Nations people in Canada, de Grandmaison's own story began across the Atlantic.

Nicholas de Grandmaison. Courtesy of U of L Archives.

Born in Russia in 1892, de Grandmaison's roots trace back to France and a great-grandfather who was rescued during the French Revolution. Because of his heritage, de Grandmaison's early years were privy to upper-class privileges his forefathers had been afforded by Catherine the Great a century earlier, including art lessons and learning about social graces as part of his schooling. After graduating from college, he attended a military school and was trained as an officer.

When the First World War broke out, de Grandmaison, who was in his early-20s, served as a soldier in East Prussia where his unit suffered a terrible defeat and he was sent to Germany as a prisoner of war. He spent a number years as a prisoner of war in Germany where he put his artistic talent to work, drawing his fellow prisoners and even some of the camp's officers.

Eventually, de Grandmaison regained his freedom, but his life was far from worry-free upon returning to Russia. As a monarchist, he ended up fleeing his civil war-ravaged homeland and escaping to Poland/Germany.

In time, de Grandmaison made his way to England. In London, with support from his friends, he attended St. John's Wood School of Art. That creative journey, however, did little to ease de Grandmaison's constant fear of deportation. So, using the winnings from a horse race wager, he set sail for Canada in 1923.

Upon disembarking in Quebec City, de Grandmaison connected with some harvesters who were headed to Manitoba. His career as a farm labourer, however, was not to be. After doing multiple odd jobs, de Grandmaison secured work at a large commercial art firm in Winnipeg. There, in addition to joining the Winnipeg Arts Club, he spent the next few years illustrating catalogues, painting portraits of chief justices, politicians and the children of local business leaders. But it wasn't until de Grandmaison ventured to northern Manitoba in 1930 that he found his true calling in life: capturing portraits of First Nations people.

He once wrote the First Nations people he saw inspired him "to forget the past and look forward to see and paint them all."

Nicholas de Grandmaison, Wolf Tail (Apisoh'soyi), 1960. From the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Collection. Gift of BMO Financial Group, 2012.

Wanting to capture First Nations people in an authentic setting ultimately compelled the artist to move to Alberta where he set out to paint First Nations people who lived far away from cities and towns, and consequently had managed to retain their customs.

While in Alberta, de Grandmaison married Sophia (Sonia) Orest Dournovo, a talented sculptor in her own right, and together they went on to have five children – all of whom would grow up to become artists or work in some facet of the art world.

When the children were young, de Grandmaison worked on a number of commissions as a way of supporting his growing family. Despite these everyday responsibilities, he remained devoted to drawing First Nations people.

Specifically, de Grandmaison was fascinated with his subjects' faces. In them, as he once described, he saw "…all the sorrow, oppression and history…indelibly written. They have character, colour and history in their blood."

But a rich past wasn't the only thing that de Grandmaison saw in the subjects; he was also keenly aware that their cultural practices were under great pressure from assimilation.

In fact, when the artist had arrived in Canada, First Nations people had been moved onto reserves and were being taught how to farm. This dramatic shift, as de Grandmaison came to understand, posed a serious threat to First Nations people's traditional way of life. So while first-hand memories were still vibrant, de Grandmaison felt duty-bound to document the history of First Nations people.

He accomplished this goal in two ways: by recording First Nations people as they told stories in their own languages and by preserving their features in pastel drawings. Today, those recordings and works of art – many of which are housed at the ��Ѹ��Դ��߿�Ƭ of Lethbridge – serve as proof of de Grandmaison's unwavering loyalty to Canada's First Nations communities.

"There are not many paintings that actually depict First Nations people as individuals," says Josephine Mills, director/curator of the U of L's Art Gallery. "De Grandmaison's paintings focus on the honour, dignity and character of each person. He didn't see First Nations people in a stereotypical light; he tried to show their individual personalities and life stories."

Nicholas de Grandmaison, Blackfoot Child, 1936. From the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Collection. Gift of BMO Financial Group, 2012.

Not only a technically skilled artist, Mills says, de Grandmaison possessed the exceptional ability to capture an individual's unique personality. Through careful colour selections, precise compositions and gentle lines, he was able to depict subjects' expressions as well as their character.

De Grandmaison's attention to detail was evident in every aspect of his work. For example, he recognized the importance of portraying First Nations people in their real clothing. It was a commitment to authenticity that stood de Grandmaison apart from other portraitists who chose to dress First Nations people in ornate and often culturally inaccurate costumes.

Instead, de Grandmaison was deeply deferential toward First Nations people, and this approach did not go unnoticed by First Nations communities. In fact, as a symbol of the respect and affection that First Nations people felt for de Grandmaison, he was named Chief Little Plume, honorary chief of the Piikani Nation. When de Grandmaison died in 1978, he was laid to rest on the Brocket Reserve in southern Alberta.

Thirty-five years later, the gestural, unfinished qualities of de Grandmaison's drawings continue to intrigue viewers and tell an important part of the Canadian story. And thanks to a recent gift to the U of L, even more people will now be able to appreciate the late artist's work.

In February 2013, the BMO Financial Group donated 67 original pastel portraits by de Grandmaison to the U of L's Art Gallery, along with $50,000 to care for and create access to the works. The collection, which is valued at more than $1.6 million, spans a period of more than 30 years and traces the development of de Grandmaison's talent and facility as one of the most important painters and portraitists of western First Nations people in Canada.

The donated portraits are part of a portfolio of works by de Grandmaison that were purchased by BMO in 1978 from the artist's family following his death. To that end, the collection now has an ideal home at the U of L, says Robert Hayes, senior vice president, prairies division of BMO Bank of Montreal.

"The ��Ѹ��Դ��߿�Ƭ already owns one of the most comprehensive collections of artworks and artifacts by this important Canadian portraitist. We are excited to enhance this collection with a gift that will allow it to continue to serve as a resource for students, faculty and independent scholars," says Hayes.

This gift of works from BMO Financial Group joins over 170 drawings, paintings and personal archival items (most of which have been deemed to be of outstanding significance and national importance) already housed by the U of L Art Collection and Archives, which the de Grandmaison family previously donated to the U of L.

"The ��Ѹ��Դ��߿�Ƭ takes seriously what it means to be entrusted with these cultural treasures," says Mahon. "These pieces hold special meaning for the U of L as most of de Grandmaison's work was created in this area. I find it fascinating that the communities Nicholas de Grandmaison was passionate about are the same communities the university remains passionate about today."

Being chosen as the keeper of the additional portraits is a testament to the ��Ѹ��Դ��߿�Ƭ's overall approach to art.

One of the most significant art collections in Canada, the U of L's Art Gallery's holdings number over 14,000 objects from Canada, America and Europe – and those works are not simply kept in storage on campus. "The gallery does a great deal with its works," says Mills. "We exhibit them, send them on tours, loan them to other galleries and use them to generate research."

In addition to using the works as teaching and research tool for faculty and students across the ��Ѹ��Դ��߿�Ƭ, there are plans to initiate an oral history project that will collect stories from anyone who knew de Grandmaison and any of the subjects in his portraits. Mills has also commissioned First Nations artists, such as Jeffrey Thomas, to create new works in response to de Grandmaison's artwork, and there are future plans to loan the collection to other museums and create a touring exhibition.

"This generous gift will significantly enhance our collection, exhibitions, and public programs and thus be an excellent resource for our community," says Mills.

Most importantly, the gift preserves a part of the past.

"While we tend to understand history as big events, this piece of Canada's history focuses on the individuals and their stories," says Mills. "If we didn't have these paintings, we would be missing an important part of our Western heritage."

Editor's note: This article references Drawn From The Past – Nicholas de Grandmaison by Gordron Synder, Introduction by Joan Murray, as a factual resource.

The faces of history

trevor.kenney — Wed, 19 Jun 2013 17:12:40 +0000

The Nicholas de Grandmaison: Recent Acquisitions exhibit Closing Reception and Hoop Dance Performance takes place Tuesday, June 25 at 7 p.m. in the Main Gallery

Each face, with its deep lines, juxtaposing colours and gentle strokes, tells a story – a story of honour, dignity and character; joy and sorrow; life and death – a story of a people in the midst of transition.

By capturing the faces of Canada's First Nations people, painter Nicholas de Grandmaison (1892 – 1978) left a deeply personal record of history.

A Russian aristocrat forced out of his homeland, a prisoner of war and eventually an immigrant to Canada, de Grandmaison felt an intimate connection to the First Nations people and empathized with the massive cultural changes they were forced to endure during the mid-20th century.

From the 1930s up until his death, de Grandmaison was struck with an urgency to paint the Plains Indians because he believed their way of life was quickly disappearing.

Nicholas de Grandmaison. Courtesy of U of L Archives.

He once wrote the First Nations people he saw inspired him "to forget the past and look forward to see and paint them all."

Nicholas de Grandmaison, Wolf Tail (Apisoh'soyi), 1960. From the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Collection. Gift of BMO Financial Group, 2012.

But a rich past wasn't the only thing that de Grandmaison saw in the subjects; he was also keenly aware that their cultural practices were under great pressure from assimilation.

Nicholas de Grandmaison, Blackfoot Child, 1936. From the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Collection. Gift of BMO Financial Group, 2012.

Being chosen as the keeper of the additional portraits is a testament to the ��Ѹ��Դ��߿�Ƭ's overall approach to art.

"This generous gift will significantly enhance our collection, exhibitions, and public programs and thus be an excellent resource for our community," says Mills.

Most importantly, the gift preserves a part of the past.

Editor's note: This article references Drawn From The Past – Nicholas de Grandmaison by Gordron Synder, Introduction by Joan Murray, as a factual resource.

Oral History Project appeals for contributions

trevor.kenney — Mon, 17 Jun 2013 17:37:50 +0000

The ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Gallery and ��Ѹ��Դ��߿�Ƭ Archives is calling on Albertans to assist in a historical project in support of their vast Nicholas de Grandmaison collection of artworks and artifacts.

A cultural icon of southern Alberta, artist Nicholas de Grandmaison (1892-1978) captured the history of the region and its First Nations people in an entirely distinctive and personal manner.

As an itinerant painter, de Grandmaison often stayed with ranchers, farmers and Aboriginal families for several days at a time while he painted their portraits. His unique lifestyle, character and attitude having left a plethora of interesting experiences that augment the context of his paintings.

It is these stories that the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Gallery and the ��Ѹ��Դ��߿�Ƭ Archives are looking to tell through an Oral History Project that will complement the ��Ѹ��Դ��߿�Ƭ's de Grandmaison collection of artworks and artifacts. They are currently seeking contributions from the Alberta community.

"By compiling an oral history, we really want to give the de Grandmaison collection another layer of meaning," says Karissa Patton (BA '13), a recent U of L graduate who is returning for graduate studies this fall and who is working with third-year Native American Studies student Maria Livingston on compiling the oral history pieces.

"The collection is remarkable, but in some instances we might only have the name of the person featured in the painting, and in others, we have no information at all. When you look at how the subjects are depicted, you can see that there is a story there that is just waiting to be told."

Working under the guidance of ��Ѹ��Դ��߿�Ƭ Archivist Mike Perry and Lisa Doolittle of the Department of Theatre and Dramatic Arts, Patton and Livingston have contacted various members of the Kainai, Siksika and Piikani First Nations, searching for those people who may have had contact either with de Grandmaison or any of the subjects featured in his paintings.

"It doesn't have to be a story from someone who was actually painted, it can be anything from that era that adds to the story of
de Grandmaison's visits and work," says Patton. "Even the smallest of recollections help to create a larger narrative."

BMO Financial Group recently donated 67 original de Grandmaison pastel portraits to the ��Ѹ��Դ��߿�Ƭ of Lethbridge's already comprehensive collection of artworks and artifacts. They have been featured in the
U of L Art Gallery exhibition Nicholas de Grandmaison: Recent Acquisitions, which concludes Thursday, June 27. On Tuesday, June 25, a Closing Reception and Hoop Dance Performance will be held at 7 p.m. in the U of L Art Gallery.

"It's been wonderful to be able to present these de Grandmaison works to the public," says Director/Curator of the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Gallery, Dr. Josephine Mills. "The BMO donation has significantly enhanced our collection and really inspired us to search for ways in which we can encourage new work from First Nations artists. I think this Oral History Project is an excellent way to give even more context to these works and bring our Alberta history to life."

For those looking to take part in the project, access the following website for more information: http://www.uleth.ca/artgallery/?page_id=5452, call 403-380-1868 or e-mail degrandmaisonstories@uleth.ca

Oral history contributions sought by gallery

trevor.kenney — Wed, 15 May 2013 16:32:50 +0000

The late artist Nicholas de Grandmaison is a cultural icon of southern Alberta. He is well known for his portraits of politicians, families and unknown subjects.

During a previous exhibition of his work at the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Gallery, there was a great deal of interest in discussing stories of the artist and of his Aboriginal subjects. The gallery is subsequently undertaking a project that invites individuals visiting the exhibit to share their unique experiences with the artist or the subjects of his paintings. The project will be publicized during the exhibition of paintings donated by BMO Financial Group at the U of L Art Gallery May 2 to June 27.

As an itinerant painter, de Grandmaison often stayed with ranchers, farmers and Aboriginal families for several days at a time while he painted them. His unique lifestyle, character and attitude have left a plethora of interesting experiences that augment the context of his paintings.

The ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Gallery and the ��Ѹ��Դ��߿�Ƭ Archives are partnering to gather the stories and provide research access to them. This oral history project is intended to give greater context to de Grandmaison as a person and an artist and to give greater background to the body of his work in the ��Ѹ��Դ��߿�Ƭ collection. As well, it will add to the rich research resource already housed on campus with the artworks, personal papers and photographs, and sound recordings produced with the artist and some of his Aboriginal sitters for portraits.

Once the stories are gathered, access will be provided through the ��Ѹ��Դ��߿�Ƭ of Lethbridge Archives website and in person study in the Archives as well as future touring exhibitions of de Grandmaison's work.

de Grandmaison exhibit opens

trevor.kenney — Thu, 02 May 2013 17:24:40 +0000

By capturing the faces of the First Nations people he encountered, Canadian painter Nicholas de Grandmaison (1892-1978) left a deeply personal record of history.

His documentation was grounded in the belief that the soul of a person was found in the face, and many of the individuals he painted during his prolific career were from the southern Alberta area, in particular the Blackfoot Confederacy and the Kainai and Piikani communities.

New works of art on display from the de Grandmaison collection, recently acquired by the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Gallery as a gift from BMO Financial Group, feature 28 pastel portraits drawn from the 67-piece gift, which was received in 2012.

The ��Ѹ��Դ��߿�Ƭ of Lethbridge holds the most comprehensive collection of de Grandmaison works in Canada, including more than 170 of his paintings, personal photo albums, letters and sound recordings of conversations he had with the individuals in his portraits.

"The works demonstrate de Grandmaison's deep respect for the people whom he painted and his exceptional skill at capturing the individual character of his sitters," says Art Gallery Director/Curator, Dr. Josephine Mills.

"What we are doing a bit differently with this exhibition is looking to the community to find relatives of the people de Grandmaison painted," Mills says.

"With our partners at the U of L Archives, we are working on a unique oral history concept that we hope adds to the value of the collection, and will help provide context for future audiences attending exhibitions of his works. We are encouraging members of the local and regional First Nations communities, and the broader Lethbridge community, to visit the gallery and possibly find a family connection."

Mills says information on the oral history project will be provided and people can contact the research team if they wish to participate.

To accommodate what Mills hopes is an increased interested in the exhibit, the gallery has extended hours for the run of the exhibition and is now open every Saturday, along with being open until 8:30 p.m. on Thursdays in addition to the regular 9 a.m. to 4:30 p.m. weekday hours.

"We are also hosting a planned informal series of presentations, 'Conversations about Nicholas de Grandmaison' which will occur on select Thursday evenings throughout the exhibition," Mills says.

From the 1930s until his death in 1978, Mills says that de Grandmaison was struck with an urgency to capture images of First Nations people because they were in a time of crucial transition with significant transformation in their lives.

"Having been a Russian aristocrat forced out of his homeland, a prisoner of war and eventually an immigrant to Canada, de Grandmaison felt intimately connected to the First Nations people. He felt he could relate to the major changes and upheaval they experienced."

"If we didn't have these paintings, we would be missing a part of our western heritage," Mills said. "While we tend to understand history as big events like battles, this piece of Canada's history focuses on the individuals and their stories. By showing these new works, and asking people for their stories, we hope to make future exhibitions that much more relevant."

BMO Financial makes significant donation of de Grandmaison works to gallery

trevor.kenney — Thu, 21 Feb 2013 18:38:03 +0000

BMO Financial Group has donated 67 original pastel portraits by Nicholas de Grandmaison (1892-1978) from its art collection to the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Gallery.

The collection, which is valued at more than $1.66 million, spans a period of over 30 years and traces the development of de Grandmaison's talent and facility as one of the most important painters and portraitists of western First Nations people in Canada.

"The ��Ѹ��Դ��߿�Ƭ of Lethbridge already owns one of the most comprehensive collections of artworks and artifacts by this important Canadian portraitist," says Robert Hayes, senior vice president, Prairies Division, BMO Bank of Montreal. "We are excited to enhance this collection with a gift that will allow it to continue to serve as a resource for students, faculty and independent scholars."

Nicholas de Grandmaison, Across the Mountain. From the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Collection. Gift of BMO Financial Group, 2013.

De Grandmaison created portraits of southern Albertans and Canada's First Nations populations for over 45 years. After immigrating to Canada from Russia (by way of England) in 1923, de Grandmaison spent much of his life touring around the prairies, painting the people he met. De Grandmaison was well-known and beloved in this area, and before his death in 1978 he was made an Honourary Chief of the Peigan Nation.

The 67 pastel portraits are part of a portfolio of 100 works by Nicholas de Grandmaison that were purchased by BMO in 1978 from the artist's family after his death.

��Ѹ��Դ��߿�Ƭ of Lethbridge President Mike Mahon says the portraits gifted by BMO Financial Group are of special significance due to the fact that de Grandmaison created most of his work in southern Alberta capturing the individual histories and personalities of those he painted.

"I find it fascinating that the communities Nicholas de Grandmaison was passionate about are the same communities the ��Ѹ��Դ��߿�Ƭ remains passionate about today," says Mahon. "The ��Ѹ��Դ��߿�Ƭ of Lethbridge takes seriously what it means to be entrusted with these cultural treasures, and we look forward to sharing these works with our students, our community, our country and beyond in future initiatives."

Director/Curator of the ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Gallery, Dr. Josephine Mills, says the gallery is already contemplating the many opportunities that will arise from this gift.

"I am excited to present an exhibition of the portraits in May and to work on further possibilities for exhibitions and research with the works from BMO and our existing collection of de Grandmaison artwork and archives," says Mills. "Future projects include conducting an oral history project about the artist and the First Nations subjects in the portraits as well as commissioning First Nations artists to produce new work in response to the BMO donation. This generous gift will significantly enhance our collection, exhibitions, and public programs and thus be an excellent resource for our community."

Included in the gift is $50,000 to care for and create access to the works. Mills says an oral history project that focuses on the artist and sitters will be created and that the gallery will commission Aboriginal artists to create a response to the works. The money will also be used to showcase the works nationally and possibly internationally.

The ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Gallery houses one of the most significant art collections in Canada. Numbering over 14,000 objects, the holdings include works from Canada, America and Europe, span the 19th and 20th centuries and continue to grow with 21st century additions. The gallery's major strength is the diversity of the collection, which not only represents a wide range of geographic locations, but also the full spectrum of media, artistic movements and genres.

The ��Ѹ��Դ��߿�Ƭ of Lethbridge Art Gallery has scheduled an exhibition of selected works from the BMO gift from May 2 to June 27, 2013.

Art Gallery to tour major exhibition in Germany

trevor.kenney — Wed, 15 Apr 2009 19:55:20 +0000

The U of L Art Gallery has sent Drawn from the Past: the portraits and practice of Nicholas de Grandmaison to the Niedersächsisches Landesmuseum in Hannover, Germany for an exhibition from April 24 to Aug. 2, 2009.

"We are delighted to send an exhibition to such a significant museum," says Dr. Josephine Mills, director/curator of the U of L Art Gallery, who will attend the opening on April 24. "The project is particularly exciting because this is the first time the U of L Art Gallery has toured an exhibition in Europe.

"The Niedersächsisches Landesmuseum has an extensive holding of art and cultural objects and by being on display in this excellent institution, work from the U of L Collection will reach a broad audience, including Hannover residents as well as tourists."

The de Grandmaison exhibition is part of a companion art exhibition associated with a large exhibition of Canadian aboriginal objects and artwork from the Canadian Museum of Civilization. Calgary's Glenbow Museum and Banff's Whyte Museum are also lending artworks for the companion exhibition. The goal of the art exhibitions is to expand on European interpretation of First Nations culture and the influence of First Nations people on European-trained artists working in Canada.

"This exhibition was selected from the ��Ѹ��Դ��߿�Ƭ of Lethbridge's extensive holding of Nicholas de Grandmaison pastels and paintings as well as our holding of archival material," says Mills.

Drawn from the Past focuses on the artist's First Nations portraits and on the context of his life and career and includes work produced from 1930 through 1960. The archival material includes letters, personal photographs and audio recordings of songs and interviews recorded by de Grandmaison while meeting with his First Nations subjects. Unfinished studies and sketchbooks included with the exhibition provide audiences with a view into the artist's process.

Gordon Snyder, guest curator of the exhibition, selected a strong range of de Grandmaison's portraits of Aboriginal people.

"The artist's passion for depicting leaders and ordinary members of many different First Nations communities is clearly apparent in these powerful works," he says.

Born in 1892 into an aristocratic family in Russia, Nicholas de Grandmaison studied art, music, history, languages, cartography and topography. He immigrated to Canada from England in 1923 where he had gone after spending most of the First World War in a prisoner of war camp in Germany. Settling in Winnipeg, he saw Plains Indians for the first time and determined to paint their portraits.

"He realized their traditional way of life would soon diminish and he began painting the Plains Indians in Manitoba, Saskatchewan and Alberta – eventually capturing subjects from as far north as the Queen Charlotte Islands and south to the deserts of the Southwestern United States," says Snyder.

In addition to curating, Snyder also produced a book that explored the holdings at the ��Ѹ��Դ��߿�Ƭ in relation to other work in public and private collections by this artist. The exhibition appeared at the U of L Art Gallery in fall 2007 and at the Art Gallery of Alberta in Edmonton in 2008.

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Each face, with its deep lines, juxtaposing colours and gentle strokes, tells a story – a story of honour, dignity and character; joy and sorrow; life and death – a story of a people in the midst of transition.

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Each face, with its deep lines, juxtaposing colours and gentle strokes, tells a story – a story of honour, dignity and character; joy and sorrow; life and death – a story of a people in the midst of transition.

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A Russian aristocrat forced out of his homeland, a prisoner of war and eventually an immigrant to Canada, de Grandmaison felt an intimate connection to the First Nations people and empathized with the massive cultural changes they were forced to endure during the mid-20th century.

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