Maria Martinez

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This article is about the American artist. For the Spanish field hockey player, see María Isabel Martínez

Maria Martinez (1887 – 1980) (born Maria Antonia Montoya) was a Native American artist whose creations reflect the Pueblo people’s legacy of fine artwork crafts using pottery.

Maria was from the San Ildefonso Pueblo, a community located 20 miles northwest of Santa Fe, New Mexico. She learned pottery skills from her aunt at an early age. During this time, Spanish tinware and Anglo enamelware had become readily available, making the creation of traditional cooking pots no longer a necessary part of life. The art of traditional pottery making was in jeopardy of extinction. Fortunately, Maria continued her interest in the fine art, and experimented with different techniques.

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[edit] Discovery

An excavation, in 1908, led by Dr. Edgar Lee Hewett, a professor of archaeology and the director of the Laboratory of Anthropology in Santa Fe, New Mexico, who discovered the black-on-black style of 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). Few people, besides Dr. Hewett, were aware that during the Neolithic period, the Pueblo peoples crafted this ancient style of glazed pottery. The Historical Pottery of the Pueblo Indians 1600-1800 text states that the “glazed 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 1700’s, 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). Dr. Hewett decided to try and find a skilled pueblo potter who could re-create this ancient style of pottery. His intention was to place these re-created pots in museums and thus preserve the ancient art form. In the Tewa pueblo of San Ildefonso, New Mexico, Maria Martinez was known for making the thinnest of pots in the fastest amount of time. Dr. Hewett chose her as the perfect Pueblo potter to bring his idea to life (Peterson 90). The process of creating the black ware pottery began the development of many finished products.

[edit] Challenges and Experiments

In order to successfully complete the pot to Maria’s perfect standards, a long process developed starting with recreating the black-on-black pottery for the museum. Figuring out the correct process to create the black pottery consisted of many challenges. Since all the 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 by smothering fire that surrounded the pottery caused the smoke to be trapped. This trapped smoke in turn caused the pottery to turn to a black ash color (Hyde 20-23). The experiment unfolded 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 or sheep and horse manure were placed around the outside and inside of the outdoor kiva-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 1910. These pots were undecorated, unsigned, and of a rough quality (Peterson 90).

[edit] Encouragement

Being embarrassed that she could not create 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 Dr. Hewett and his guests visited the little Tewa Pueblo again. These guests asked to purchase some of Maria’s black ware pottery like the pots seen in the museum (Peterson 90). Maria was greatly encouraged by this and resolutely began trying again to perfect the art of black ware pottery. The encouragement soon developed a business for the black ware pottery. Her skill advanced with each pot, and her art began to cause quite a stir among collectors. She began producing many different decorative forms of pottery. Maria began utilizing various techniques to create her world famous pots.

[edit] 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). 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.
Link to picture of the pot described: [1]

[edit] The 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.

[edit] Decorations

Julian, Maria's husband, began attempting to decorate the pots made by Maria. Although Julian did master decorating Maria’s pots, this process too 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 guaco 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 Awanyu 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.

[edit] 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 along side 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.

[edit] Accomplishments

Although black ware pottery received a lot of success, the true legend behind the pottery is Maria Martinez herself. Throughout her lifetime (1887-1980) Maria won many awards and presented her pottery at many world fairs. She received the initial grant for the National Endowment for the Arts 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. She was an amazing lady who only accomplished her goals through patience, perseverance, and practice. Without the patience to fully prepare the pot the outcome will not be as admired. Her life story lives on with her pottery today.

[edit] Works Cited

Bunzel, Ruth L. The Pueblo Potter. New York: Columbia UP, 1972. 1-133.

Frank, Larry, and Francis H. Harlow. Historical Pottery of the Pueblo Indians 1600-1880. Boston: New York Graphic Society Ltd., 1974. 1-158.

Hyde, Hazel. Maria Making Pottery. Albuquerque: Starline, 1973. 3-27.

Lori, Dr. "Maria and Julian Martinez Pottery." Masterpiece Galleries. 2006. Masterpiece Galleries. 7 Mar. 2006

Peterson, Susan. The Living Tradition of Maria Martinez. New York: Kodansha International Ltd., 1977. 11-297.


[edit] External links and references



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