Maria Martinez and the potters of San Ildefonso Pueblo

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• Maria Martinez and the potters of San Ildefonso
  Pueblo

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• Maria Martinez was born Maria Montoya in the
  early 1880s, most likely in 1881. She was born
  in the San Ildefonso Pueblo, a community of
  Native Americans in New Mexico near Santa Clara.
  At a young age, Maria learned to make pottery for
  her family. Her pots were simple, undecorated
  wares intended for everyday use.

Maria Martinez and Popovi Da, Jar, feather
design, 1965
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• Maria Married Julian Martinez in 1904. Maria sold
  simple, red polished pots on occasion to the
  tourists and traders that came to San Ildefonso.
  In 1908, however, things changed. Julian was
  hired as a laborer on an archeological dig for
  Dr. Edgar Hewett. Dr. Hewett Asked Maria to
  attempt to replicate a pot based on potsherds
  found at the site.

Maria Martinez, Plain Polish Bowl, 2 3/4 x 3 1/4
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• Maria replicated the form of the vessel, and
  Julian painted the design on the surface. Maria
  and Julian began to make many more of these
  vessels, and sell them to traders and tourists.

Maria Martinez, Vase, 4 3/4 x 7
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• During a regular firing of pots, a number of
  works came out unusual. Several of the works
  were a dark, shiny black. Maria put these pots
  aside, thinking that they were undesirable.

Maria Martinez and Santana, Black Fluted Jar
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• Marias Simple, red polished vessels sold well,
  and she did not have any to offer the traders on
  one of their visits. She showed the traders the
  black vessels, thinking that they would not be
  interested. The traders accepted the black pots,
  which sold very quickly.

Maria Martinez, Plain Polish Bowl, 5 ¼ x 8, late
1920s
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• Maria and Julian attempted several experiments in
  order to replicate the smoky, black burnished
  effect of the early pots. They found that by
  smothering the fire with finely ground manure
  they were able to reduce the firing, and blacken
  the ware.

Maria Martinez, Plain Polish Bowl
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• Maria made the pots in a traditional method
  taught to her by an aunt. She would start by
  harvesting the clay. She would gather the clay
  from areas near the pueblo, and then grind the
  clay into a fine powder. She would then add
  water and sand to the clay, and wedge it into a
  workable consistency.

Maria Martinez, Vase, 4 3/8 x 5 3/8, 1965
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• The construction of the coil vessels included
  several steps. Maria would make a flat pancake or
  tortilla of clay, and shape it into a round base.
  

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• She would then build up the walls of the vessel
  with coils of clay, pinching and smoothing them
  into the surface.

Maria Martinez and Santana, Black on Black Bowl,
2 7/8 x 8 3/4
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• At several points, thicker, heavier coils were
  added for strength. This includes the transition
  from belly to shoulder, and shoulder to neck. A
  section of dried gourd was used as a rib to
  smooth the work.

Maria Martinez and Santana, Black Fluted Jar, 9
1/2 x 8 1/2
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• The pots were then polished with smooth stones
  and oil. Marias sister Clara often assisted
  with the polishing of the vessels. Julian
  painted the polished vessels using slip with a
  yucca brush, often emulating traditional pueblo
  designs

Maria and Julian Martinez, Black on Black Bowl, 4
¾ x 7 ½
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• Julian painting the vessels with a slip decoration

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• After completion, the pots are allowed to dry for
  several days. The dry pots are placed on an iron
  grate, and cedar kindling is built up around the
  grate. The vessels are covered with pieces of
  tin, and then piled high with cakes of manure.
  The manure serves as fuel for the firing.

Maria Martinez, Black on Black Jar
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• Maria stacking her pots on an iron grate to
  prepare for firing.

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• Maria and Julian building the fire

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• At the end of the firing, the fire is smothered
  with fine manure. This deprives the fire of
  oxygen, and causes a reduction firing. The
  pottery shifts from red to black.

Maria Martinez, Black on Black Wedding Vase, 9 ½
x 6 ¾ , 1965
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• Early in their careers as potters, Maria and
  Julian found great success. Their earlier work
  is often small in scale, as they found smaller
  pots to be easier to sell to traders and
  tourists. By 1915, Maria was demonstrating her
  methods at expositions in San Diego. On 1919,
  Julian discovered a technique of applying a satin
  or flat slip to a gloss black surface, giving the
  finish we now often associate with San Ildefonso
  Pueblo pottery.

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• In the early 20s, Maria began teaching the art
  of the black on black pottery to other members of
  the pueblo. Many other members of the community
  were able to find financial security through
  pottery, and a new economical stability came to
  the pueblo.

Maria and Julian Martinez, Black on Black Plate,
1942
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• In 1925, Maria began to sign her pottery. She
  signed her work Marie instead of Maria. She
  anglicized her name at the suggestion of a white
  trader who was interested in selling her work.

Maria Martinez and Santana, Black on Black Bowl,
2 ½ x 4
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• Many of Marias most intricate and stunning works
  were painted and ornamented by her husband,
  Julian. In the winter of 1943, Julian
  disappeared. After four days, his body was found
  a short distance from the pueblo on a hill. He
  had died of natural causes.

Maria Martinez, Feather Plate
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• This work, painted by Popovi Da, is decorated
  with the image of the water serpent. This image
  is one that was a favorite of Julian, and
  appeared on many of his works. The plate form is
  not a traditional pueblo vessel, but one that the
  San Ildefonso pueblo adopted to meet demand.

Maria Martinez and Popovi Da, 11 ¾ dia.
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• Later in Marias life, her children and
  grandchildren became part of the pottery making
  tradition.

• Her son, Popovi Da, often decorated and painted
  vessels. Her granddaughter, Santana, also became
  a very skilled potter.

Maria Martinez and Popovi Da, Black on Black
Bowl, 4 1/2 x 5 3/4,
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• In the 1920s, Maria and Julian Martinez sold
  their work for a dollar and a half to three
  dollars per work. Today, it is common to see
  prices ranging from ten to twenty thousand
  dollars for a single vessel.

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• Maria Martinez was the leading force in a revival
  of traditional pottery making blended with a
  contemporary understanding of supply and demand.
  Marias hard work and selfless attitude created a
  strong livelihood for many members of her
  community, and maintained the traditions of her
  ancestors.

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