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            <title xml:lang="fr">Irrévérence ou résurgence ? Au Canada Kent Monkman, artiste cri, revisite la tradition du « portrait d’Indiens »</title>
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                <term xml:lang="en">The imaginary Indian</term>
                <term xml:lang="en">Indian chiefs</term>
                <term xml:lang="en">Indian portraits</term>
                <term xml:lang="en">radical resistance</term>
                <term xml:lang="en">Kent Monkman</term>
                <term xml:lang="en">Indigenous art</term>
                <term xml:lang="en">resurgence</term>
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                <term xml:lang="en">visuality</term>
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                <term xml:lang="en">two-spirit</term>
                <term xml:lang="fr">Kent Monkman</term>
                <term xml:lang="fr">Paul Kane</term>
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              <p>In this article, I analyse three series of portraits by the Canadian Cree artist Kent Monkman (2008-2022), as examples of radical resurgence and countervisuality. Monkman is known for his irreverent treatment of the European canon and representation of Canadian history. I first focus on two series which Monkman painted in 2008, as a response to the 19th century traditions of “portraits of Indians” and of “portraits of Indian warriors,” which Canadian painter Paul Kane and American painter George Catlin were famous for. With these 2008 series—acrylics and watercolours—which all include direct allusions to 19th century paintings, Monkman exposes the prevailing vision of Indigenous peoples as a vanishing race. These series also expose European visions of Indigenous sexuality by depicting two-spirit figures. Finally, I examine a recent series entitled wâsê-acâhkosak (Shining Stars) (2020-2022), as an instance of radical resistance since Monkman paints the portraits of contemporary Indigenous heroes who are part of an artistic and intellectual renaissance, within a larger political and cultural context of resurgence.</p>
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              <p>Cet article analyse trois séries de portraits réalisés entre 2008 et 2022 par le peintre canadien d’origine crie, Kent Monkman, sous l’angle de la résurgence et de la contre-visualité. Monkman est surtout connu pour ces interprétations picturales irrévérencieuses de l’histoire canadienne et du canon de la peinture européenne, qui mettent en lumière les relations entre colons et Autochtones. Sont considérées ici deux séries peintes en 2008, où Monkman se joue de la tradition du « portrait d’Indien » du dix-neuvième siècle et de celle du « portrait de chef indien » telle que le peintre canadien Paul Kane et le peintre américain George Catlin l’ont pratiquée. Les acryliques et aquarelles qui utilisent le procédé de reprise visuelle permettent à Monkman de dénoncer la vision coloniale d’une race de guerriers en voie de disparition. Ces deux séries de portraits lui permettent également de contester la vision européenne de la sexualité autochtone et de rendre visible la réalité culturelle de la bi-spiritualité. Cet article considère l’évolution de la peinture de Monkman en analysant une série récente commencée en 2020, wâsê-acâhkosak (Shining Stars), sous l’angle de la résistance radicale car Monkman y peint des héros autochtones contemporains, qui participent à l’épanouissement culturel de leur communauté.</p>
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