Jar

About the Art

Maria Martinez learned ceramics from women in her community, the Tewa-speaking San Ildefonso (“Powhoge”) Pueblo in New Mexico. Making pottery was a collaborative practice, generally with women creating the pots and men decorating them. Maria mined and processed the clay, building up forms using coils of clay and then smoothing the coils together into even-walled pots. Her husband Julian Martinez (1879–1943) decorated them until his death when Maria began working with her daughter-in-law, Santana, and her son, Popovi Da (1923–1971).

Maria and Julian became assistants for the School of American Research on archaeological excavations on ancient pueblo sites nearby. By studying the objects and shards they encountered, the pair worked to revive traditional forms of ceramics. Together Maria and Julian developed the prized black-on-black style characterized by matte black designs on a polished black form.

The jar seen here was built by Maria and decorated by Santana in a band of abstract, geometric designs. The black-on-black glazes needed to be fired at lower temperatures, making them unsuitable for holding food or drink. However, this is inconsequential as these objects were quickly valued as art instead of as utilitarian objects.

Maria Martinez was among the first indigenous North American potters to sign their creations. In her lifetime she made pottery for two Worlds Fairs, was awarded two honorary doctorates and was invited to the White House by four presidents.

FEATURED IMAGE
Maria Montoya Martinez (American, 1909–2002), Santana Martinez (American, 1901–2002), Jar, 20th century, earthenware, height 14 1/2 inches. Gift of Mr. Herbert Crane, 1987.282