Maria Martinez
Encyclopedia
Maria Montoya Martinez was a Native American
artist who created internationally known pottery
. Martinez (born Maria Antonia Montoya), her husband Julian
, and other family members examined traditional Pueblo pottery styles and techniques to create pieces which reflect the Pueblo people’s legacy of fine artwork and crafts.
Maria was from the San Ildefonso Pueblo, a community located 20 miles northwest of Santa Fe, New Mexico
. At an early age, she learned pottery skills from her aunt. During this time, Spanish
tinware and Anglo
enamelware had become readily available in the Southwest, making the creation of traditional cooking and serving pots less necessary. Traditional pottery making techniques were being lost, but Maria and her family experimented with different techniques and helped preserve the cultural art.
, a professor of archaeology and the director of the Laboratory of Anthropology in Santa Fe, discovered examples of black-on-black pottery. While searching through the sandy dirt and red clay of the New Mexico desert terrain, broken pieces of polished, jet-black pottery were uncovered (Peterson 89). At this time, few people were aware that during the Neolithic
period, the Pueblo people
s crafted this style of finished ware. The Historical Pottery of the Pueblo Indians 1600-1800 text states that the finished ... pottery held a glossy, melted appearance which was only used for decoration on the pots (Frank and Harlow, 8). Sometime during the end of the 18th century, the use of plant pigments and finely powdered mineral substances became the preferred technique of painting and slowly caused the extinction of glazed pottery (Frank and Harlow, 8).
Hewett sought a skilled pueblo potter who could re-create this ancient pottery style. His intention was to place re-created pots in museums and thus preserve the ancient art form. Maria Martinez was known in the Tewa pueblo of San Ildefonso, New Mexico for making the thinnest pots in the least time. Hewett saw her as the perfect Pueblo potter to bring his idea to life (Peterson, 90).
-style adobe
oven would give the pot a slicker matte finished appearance (Hyde 20). After much trial and error, Maria successfully produced a black ware pot. The first pots for the museum were fired around 1913. These pots were undecorated, unsigned, and of a generally rough quality (Peterson 90).
The first step in creating a pot is gathering the clay. The clay is gathered once a year, usually in October when it is dry and stored in an old weathered adobe structure where the temperature remains constant (Peterson 164). When Maria is ready to begin molding the clay to form a pot, the right amount of clay is brought into the house. A cloth, laid upon a table, holds a mound of gray pink sand with a fist hole in the center filled with an equal amount of blue sand. A smaller hole is made in the blue sand and water is poured into the hole. The substances are then all kneaded together, picked up within the cloth, washed, and covered with a towel to prevent moisture from escaping where the clay will sit for a day or two to dry. The pukis or “the supporting mold, a dry or fired clay shape where a round bottom of a new piece may be formed” builds the base shape of the pot looking like a pancake (Peterson 167). After squeezing the clay together with one’s fingers, a wall is pinched up about an inch high from the pancake base. A gourd rib is used in cross-crossing motions to smooth out the wall, making it thick and even. Coiling long tube shapes of clay on the top of the clay wall and then smoothing it out with the gourd increases the pot’s height. Air holes are patched with extra clay and sealed away with the gourd rib like a patch being sown on a pair of blue jeans (Peterson 167).
After drying, the pot is scraped, sanded, and polished with stones. This is the most time consuming part of the entire process. A small round stone should be applied to the side of the pot in a consistent, horizontal, rhythmic motion. Rubbing the stone parallel with the side of the pot produces a shiny, polished, even look (Peterson 173). Burnishing then occurs followed by firing the pottery. The pot is finally finished after the decorating process.
juice burned out from the heat of the fire, he could mix the guaco with clay which then provided the perfect paint for his decorations The process Julian settled on was to polish the background first then matte the decoration already painted on.
In 1918, Julian finished the first decorated black ware pot with a matte background and a polished Avanyu design. “The first rush of water coming down an arroyo after a thunderstorm, a symbol of thanksgiving and for water and rain” was the interpretation by Julian of an avanyu or a horned water serpent (Peterson 91). Many of Julian’s decorations were patterns adopted from ancient vessels of the Pueblos. Some of the patterns consisted of birds, road runner
tracks, rain, feathers, clouds, mountains, and zigzags or kiva steps. The museum displayed the first two decorated black ware pots painted by Julian.
to fund a Martinez pottery workshop in 1973 (Peterson 81). Maria passed on her knowledge and skill to many others including her family, women in the pueblo, and students. When she was a young girl she had learned how to become a potter by watching her aunt Nicolasa make pottery. Maria also taught through observation (Peterson 83). She was not comfortable with the idea of teaching someone how to craft pottery.
Native Americans in the United States
Native Americans in the United States are the indigenous peoples in North America within the boundaries of the present-day continental United States, parts of Alaska, and the island state of Hawaii. They are composed of numerous, distinct tribes, states, and ethnic groups, many of which survive as...
artist who created internationally known pottery
Native American pottery
Native American pottery is an art form with at least a 7500-year history in the Americas. Pottery is fired ceramics with clay as a component. Ceramics are used for utilitarian cooking vessels, serving and storage vessels, pipes, funerary urns, censers, musical instruments, ceremonial items, masks,...
. Martinez (born Maria Antonia Montoya), her husband Julian
Julian Martinez
Julian Martinez, also known as Pacano, was a Native American potter and the patriarch of the most important family of Native American artisans in the United States. Born on the San Ildefonso Pueblo in New Mexico, Martinez was instrumental in reviving the black San Ildefonso pottery and Santa Clara...
, and other family members examined traditional Pueblo pottery styles and techniques to create pieces which reflect the Pueblo people’s legacy of fine artwork and crafts.
Maria was from the San Ildefonso Pueblo, a community located 20 miles northwest of Santa Fe, New Mexico
Santa Fe, New Mexico
Santa Fe is the capital of the U.S. state of New Mexico. It is the fourth-largest city in the state and is the seat of . Santa Fe had a population of 67,947 in the 2010 census...
. At an early age, she learned pottery skills from her aunt. During this time, Spanish
Spain
Spain , officially the Kingdom of Spain languages]] under the European Charter for Regional or Minority Languages. In each of these, Spain's official name is as follows:;;;;;;), is a country and member state of the European Union located in southwestern Europe on the Iberian Peninsula...
tinware and Anglo
Anglo
Anglo is a prefix indicating a relation to the Angles, England or the English people, as in the terms Anglo-Saxon, Anglo-American, Anglo-Celtic, Anglo-African and Anglo-Indian. It is often used alone, somewhat loosely, to refer to people of British Isles descent in The Americas, Australia and...
enamelware had become readily available in the Southwest, making the creation of traditional cooking and serving pots less necessary. Traditional pottery making techniques were being lost, but Maria and her family experimented with different techniques and helped preserve the cultural art.
Discovery
An excavation, in 1908, led by Edgar Lee HewettEdgar Lee Hewett
Edgar Lee Hewett, D.Sc., was an archaeologist/anthropologist active in work on the Native American communities of New Mexico and the southwestern United States, and most famous for his role in bringing about the Antiquities Act, a pioneering piece of legislation for the conservation movement...
, a professor of archaeology and the director of the Laboratory of Anthropology in Santa Fe, discovered examples of black-on-black pottery. While searching through the sandy dirt and red clay of the New Mexico desert terrain, broken pieces of polished, jet-black pottery were uncovered (Peterson 89). At this time, few people were aware that during the Neolithic
Neolithic
The Neolithic Age, Era, or Period, or New Stone Age, was a period in the development of human technology, beginning about 9500 BC in some parts of the Middle East, and later in other parts of the world. It is traditionally considered as the last part of the Stone Age...
period, the Pueblo people
Pueblo people
The Pueblo people are a Native American people in the Southwestern United States. Their traditional economy is based on agriculture and trade. When first encountered by the Spanish in the 16th century, they were living in villages that the Spanish called pueblos, meaning "towns". Of the 21...
s crafted this style of finished ware. The Historical Pottery of the Pueblo Indians 1600-1800 text states that the finished ... pottery held a glossy, melted appearance which was only used for decoration on the pots (Frank and Harlow, 8). Sometime during the end of the 18th century, the use of plant pigments and finely powdered mineral substances became the preferred technique of painting and slowly caused the extinction of glazed pottery (Frank and Harlow, 8).
Hewett sought a skilled pueblo potter who could re-create this ancient pottery style. His intention was to place re-created pots in museums and thus preserve the ancient art form. Maria Martinez was known in the Tewa pueblo of San Ildefonso, New Mexico for making the thinnest pots in the least time. Hewett saw her as the perfect Pueblo potter to bring his idea to life (Peterson, 90).
Challenges and experiments
A long process of experimentation was required to successfully recreate the black-on-black pottery style to meet Maria’s exacting standards. There were many challenges. As almost all clay found in the New Mexico desert was red, one specific challenge was to figure out a way to dye the red clay jet black. Maria discovered that smothering the fire surrounding the pottery during the firing process caused the smoke to be trapped. The carbon in the smoke caused the pottery to turn to a black ash color (Hyde 20-23). She experimented with the idea that an unfired polished red vessel which was painted with a certain paint on top of the polish and then fired in a smudging fire at a relatively cool temperature would result in a deep glossy black background with dull black decoration (Frank and Harlow 36). Shards and sheep and horse manure placed around the outside and inside of the outdoor kivaKiva
A kiva is a room used by modern Puebloans for religious rituals, many of them associated with the kachina belief system. Among the modern Hopi and most other Pueblo peoples, kivas are square-walled and underground, and are used for spiritual ceremonies....
-style adobe
Adobe
Adobe is a natural building material made from sand, clay, water, and some kind of fibrous or organic material , which the builders shape into bricks using frames and dry in the sun. Adobe buildings are similar to cob and mudbrick buildings. Adobe structures are extremely durable, and account for...
oven would give the pot a slicker matte finished appearance (Hyde 20). After much trial and error, Maria successfully produced a black ware pot. The first pots for the museum were fired around 1913. These pots were undecorated, unsigned, and of a generally rough quality (Peterson 90).
Encouragement
Embarrassed that she could not create high quality black pots in the style of the ancient Pueblo peoples, Maria hid her pots away from the world (Peterson, 90). A few years later, Hewett and his guests visited the little Tewa Pueblo. These guests asked to purchase black ware pottery, similar to Maria's pots housed in the museum (Peterson, 90). Maria was greatly encouraged by this interest and resolutely began trying to perfect the art of black ware pottery. Her skill advanced with each pot, and her art began to cause quite a stir among collectors and developed into a business for the black ware pottery. In addition, Maria began experimenting with various techniques to produce other shapes and colorful forms of pottery.Description of black ware pottery
An “olla” jar has a slightly flattened rim and a marked angle at the shoulder. The one created by Maria and Julian is decorated on the rims only above the angle of the shoulder with continuous paneled bands (Bunzel 44)http://www.material-insight.com/Marie.htm. Light is reflected off of the shiny, smooth surface. The jet black ceramic product’s finish appears unblemished in any way. A band of a lighter black decoration stands out against a solid black matte background. The pot “depends on the decorative effect of the manipulation of the surface finish alone” to appear as though the decorations are scratched into the pot’s surface (Buzel 44). The band wraps directly below the narrow neck of the pot. A wide-eyed horned serpent encircles the pot and slithers inside the band. The serpent’s tongue almost touches the tip of his tail. The snake’s body movements seem alive; a tribute to the appreciation the Pueblo peoples have for nature and life. The decorations on the pot give the pot a personality and unique individualized look.Process
Creating black ware pottery is a long process consisting of many steps requiring patience and skill. Six distinct processes occur before the pot is ready to be sold. According to Susan Peterson in The Living Tradition of Maria Martinez, these steps include, “finding and collecting the clay, forming a pot, scraping and sanding the pot to remove surface irregularities, applying the iron-bearing slip and burnishing it to a high sheen with a smooth stone, decorating the pot with another slip, and firing the pot” (164).The first step in creating a pot is gathering the clay. The clay is gathered once a year, usually in October when it is dry and stored in an old weathered adobe structure where the temperature remains constant (Peterson 164). When Maria is ready to begin molding the clay to form a pot, the right amount of clay is brought into the house. A cloth, laid upon a table, holds a mound of gray pink sand with a fist hole in the center filled with an equal amount of blue sand. A smaller hole is made in the blue sand and water is poured into the hole. The substances are then all kneaded together, picked up within the cloth, washed, and covered with a towel to prevent moisture from escaping where the clay will sit for a day or two to dry. The pukis or “the supporting mold, a dry or fired clay shape where a round bottom of a new piece may be formed” builds the base shape of the pot looking like a pancake (Peterson 167). After squeezing the clay together with one’s fingers, a wall is pinched up about an inch high from the pancake base. A gourd rib is used in cross-crossing motions to smooth out the wall, making it thick and even. Coiling long tube shapes of clay on the top of the clay wall and then smoothing it out with the gourd increases the pot’s height. Air holes are patched with extra clay and sealed away with the gourd rib like a patch being sown on a pair of blue jeans (Peterson 167).
After drying, the pot is scraped, sanded, and polished with stones. This is the most time consuming part of the entire process. A small round stone should be applied to the side of the pot in a consistent, horizontal, rhythmic motion. Rubbing the stone parallel with the side of the pot produces a shiny, polished, even look (Peterson 173). Burnishing then occurs followed by firing the pottery. The pot is finally finished after the decorating process.
Decorations
Julian Martinez, Maria's husband, began attempting to decorate the pots made by Maria. Although Julian did eventually master decorating techniques for Maria’s pots, the process consisted of many trials and errors. The first challenge was learning how to leave the background unpolished while burnishing a design into the pot. Firing the pots was another major problem. Julian had to decide whether to decorate or matte the background first before firing the pots. He discovered that after the guacoGuaco
Gauco, huaco, or guao, also vejuco and bejuco are terms applied to various vine-like Central and South American, and West Indian climbing plants, reputed to have curative powers....
juice burned out from the heat of the fire, he could mix the guaco with clay which then provided the perfect paint for his decorations The process Julian settled on was to polish the background first then matte the decoration already painted on.
In 1918, Julian finished the first decorated black ware pot with a matte background and a polished Avanyu design. “The first rush of water coming down an arroyo after a thunderstorm, a symbol of thanksgiving and for water and rain” was the interpretation by Julian of an avanyu or a horned water serpent (Peterson 91). Many of Julian’s decorations were patterns adopted from ancient vessels of the Pueblos. Some of the patterns consisted of birds, road runner
Geococcyx
The roadrunners are two species of bird in the genus Geococcyx of the cuckoo family, Cuculidae, native to North and Central America...
tracks, rain, feathers, clouds, mountains, and zigzags or kiva steps. The museum displayed the first two decorated black ware pots painted by Julian.
Signatures
Maria signed her creations in different ways throughout her lifetime. The signatures found on the bottom of the pottery help date the pieces of art. Maria and Julian’s oldest work were all unsigned. The two had no idea that their art would become so popular and did not feel it was a necessity to claim their work. The unsigned pieces were most likely made between the years of 1918 and 1923 (Lori 1). Once Maria gained success with her pottery she began signing her work as “Marie.” She thought that the name “Marie” was more popular among the non-Indian public than the name “Maria” and would influence the purchasers more. The pieces signed as “Marie” dates the pottery between 1923 and 1925 (Lori 1). Even though Julian decorated the pots, only Maria claimed the work since pottery was still considered a woman’s job in the Pueblo (Hyde 4). Maria left Julian’s signature off the pieces to respect the Pueblo culture until 1925. After that, “Marie + Julian” remained the official signature on all of the pottery until Julian’s death in 1943 (Lori 1). Maria’s family began helping with the pottery business after Julian’s death. From 1943 to 1954 Maria’s son, Adam and his wife Santana, collected clay, coiled, polished, decorated, and fired the pottery. Adam took over his father’s job of collecting clay and painting the decorations. “Marie + Santana” became the new signature on the pots. For about thirty years Maria continued signing her name as “Marie.” Once her son, Popovi Da, began working alongside his mother, Maria began referring to herself as “Maria” on the pottery. They began co-signing their pieces around 1959 as “Maria +Poveka” and “Maria/Popovi" (Lori 1). Thus, studying the signature on one of Maria’s pots may give a hint at the completion date of the pottery since dates were not added to the pottery until recent years.Accomplishments
Although black ware pottery received a lot of success, the true legend behind the pottery is Maria Martinez herself. Maria won many awards and presented her pottery at many world fairs. She received the initial grant for the National Endowment for the ArtsNational Endowment for the Arts
The National Endowment for the Arts is an independent agency of the United States federal government that offers support and funding for projects exhibiting artistic excellence. It was created by an act of the U.S. Congress in 1965 as an independent agency of the federal government. Its current...
to fund a Martinez pottery workshop in 1973 (Peterson 81). Maria passed on her knowledge and skill to many others including her family, women in the pueblo, and students. When she was a young girl she had learned how to become a potter by watching her aunt Nicolasa make pottery. Maria also taught through observation (Peterson 83). She was not comfortable with the idea of teaching someone how to craft pottery.
See also
- List of Native American artists
- Native American potteryNative American potteryNative American pottery is an art form with at least a 7500-year history in the Americas. Pottery is fired ceramics with clay as a component. Ceramics are used for utilitarian cooking vessels, serving and storage vessels, pipes, funerary urns, censers, musical instruments, ceremonial items, masks,...
- Cueva de la Olla, Paquime, Chihuahua, Mexico
External links and references
- Bandelier National Monument Virtual Museum Exhibit and Lesson Plans, from National Park ServiceNational Park ServiceThe National Park Service is the U.S. federal agency that manages all national parks, many national monuments, and other conservation and historical properties with various title designations...
- Maria Martinez and Julian, Ildefonso Pottery
- Fact sheet on Maria Martinez
- Documentary Film about Maria Martinez
- Maria Martinez Information at the Holmes Museum of Anthropology
- Chapter on "Maria Martinez, Bernard Leach and Shoji Hamada" in Marguerite Wildenhain and the Bauhaus (2007)
- Maria: The Potter of San Ildefonso (1987), The University of Oklahoma Press