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work. The unsigned pieces were most likely made between the years of 1918 and 1923. 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" were made between 1923 and 1925. Even though Julian decorated the pots, only Maria claimed the work since pottery was still considered a woman's job in the Pueblo. 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. 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 pottery with Maria. 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 signed her name as "Marie." Once her son,
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If the fire continued to burn, the pottery would achieve a red-brown color. But in order to make the blackware pottery that Maria was famous for, the fire was smothered with dry, powdered horse dung. By doing this, the amount of oxygen within the kiln was greatly reduced, therefore creating a reduction atmosphere that caused the color of the pots to turn black. After several hours, Martinez shifted the horse dung to extinguish the fire and bury the pots so they could cool slowly. After the pit kiln was cool enough to unload, they carefully removed the pots using a stick if the pots were still hot, or by hand if the pots were cool enough to touch.
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406:, who still practiced traditional pottery techniques, that smothering the fire surrounding the pottery during the outdoor firing process caused the smoke to be trapped and is deposited into the clay, creating various shades of black to gunmetal color." She experimented with the idea that an "unfired polished red vessel which was painted with a red slip 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." Shards and sheep and horse manure placed around the outside and inside of the outdoor
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the storage structure. The clay is placed on a table covered with a cloth. A fist-sized hole is made in the clay and equal amounts of gray-pink and blue sand are placed in the depression. A smaller hole is made in the blue sand and water is poured into the hole. The substances are then kneaded together. The mixture is then wrapped in the cloth, washed, and covered with a towel to prevent moisture from escaping. The clay is allowed a day or two to dry slightly and stabilize. The
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During the time that she developed what we now know as the San
Ildefonso style of traditional pottery, she learned much from Sarafina Tafoya, the pottery matriarch of neighboring Santa Clara Pueblo. When in 1932 she was asked to teach by the government Indian school in Santa Fe, Martinez refused to do so: "I come and I work and they can watch," she stated. Her family members had not taught her, and she would not do it herself either - "nobody teaches."
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in a museum. She 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, Martinez began experimenting with various techniques to produce other shapes and colorful forms of pottery.
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product's finish appears unblemished in any way. A band of a lighter black decoration stands out against a solid black matte background. This type of pot "depends for decorative effect on the manipulation of surface finish alone" to appear as though the decorations are scratched into the pot's surface. The band wraps directly below the narrow neck of the pot. A wide-eyed
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First, the pots were placed in the firing pit, and carefully covered with broken pieces of pottery and aluminum sheets or scrap metal. In order to allow ventilation to keep the fire burning, small spaces were left uncovered. The pit-kiln assembly was then surrounded with cow chips - very dry cow dung
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or "supporting mold, a dry or fired clay shape where a round bottom of a new piece may be formed" allows the potter to build the base of the pot into a pancake-like form. After squeezing the clay together with one's fingers, a 1" high wall is pinched up from the pancake-like base. A gourd rib is used
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Maria
Martinez used variations of her signature on her pots throughout her lifetime. These signatures help date the pieces of art. Maria and Julian's oldest works were all unsigned. The two had no idea that their art would become popular and did not feel it was necessary to claim authorship of their
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Julian
Martinez, Maria's husband, began decorating Maria's pots after many trials and errors. "To create his designs, a slurry of clay and water known as slip is created and applied to the already burnished, but yet unfired surface. You cannot polish a design into a matte background, as the stone is
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with more cow chips, they lit the kindling on all sides to ensure an even distribution of heat. They continued to feed the fire with dry cedar wood until it reached the desired temperature of around 1,200 to 1,400 degrees
Fahrenheit, depending on the desired look they intended for the batch of pots.
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occurs when the air surrounding the pots does not contain enough oxygen to feed the flames. This causes a chemical reaction that darkens the clay body. The firing process would take many hours in addition to the weeks of preparation beforehand. She often was assisted by her husband or children. The
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The first step is to gather the clay, which is done once a year, usually in
October when it is dry. The clay is then stored in an adobe structure where the temperature remains constant. The next step is to begin molding the clay to form a pot; the right amount of clay is brought into the house from
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Embarrassed that she could not create high quality black pots in the style of the ancient Pueblo peoples, Martinez hid her pots away from the world. A few years later, Hewett and his guests visited the Tewa Pueblo. These guests asked to purchase black ware pottery, similar to
Martinez's pots housed
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oven would give the pot a slicker matte finished appearance. After much trial and error, Maria successfully produced a black ware pot. The first pots for a museum were fired around 1913. These pots were undecorated, unsigned, and of a generally rough quality. The earliest record of this pottery was
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After drying, the pot is scraped, sanded, and polished with stones. This is the most time-consuming part of the process. A small round stone is applied to the side of the pot in consistent, horizontal, rhythmic motions. The pot is burnished by rubbing the stone parallel with the side of the pot to
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to Tomas and Reyes Pena
Montoya, Maria had four sisters: Maximiliana (Ana), Juanita, Desideria, and Clara. Maria was the middle child. Her aunt, Nicolasa, taught her clay work. Martinez and all four of her sisters made pottery, and some examples of her sisters' pottery can be seen in exhibits. She
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jar has a slightly flattened rim and a marked angle at the shoulder. The one created by Maria and Julian
Martinez is characteristic of this type, which is "decorated on the rims only, i.e. above the angle of the shoulder." Light is reflected off of the shiny, smooth surface. The jet black ceramic
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pueblo of San
Ildefonso, New Mexico for making thin pots quickly; therefore, Hewett saw her as the perfect Pueblo potter to bring his idea to life. This work was distinct from, but invariably confused with (in the popular narrative) the matte black on polished blackware that Maria and her husband
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to fund a Martinez pottery workshop in 1973. Martinez passed on her knowledge and skill to many others including her family, other women in the pueblo, and students in the outside world. When she was a young girl she had learned how to become a potter by watching her aunt Nicolasa make pottery.
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in criss-cross motions to smooth out the wall, making it thick and even. Long coils of clay are laid on the top of the clay wall. These are then smoothed out with the gourd, allowing the potter to increase the height of the pot. Any air holes are patched with clay and sealed with the gourd rib.
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pottery style to meet Maria's exacting standards. "As almost all clay found in the hills is not jet black, one specific challenge was to figure out a way to make the clay turn the desired color. Maria discovered, from observing the Tafoya family of
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497:- as fuel. The chips were placed carefully in order to leave the vents free. The goal was to prevent any flame from actually touching the pots, hence the protective metal sheets. After covering the
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Hewett sought a skilled pueblo potter who could re-create biscuit ware. His intention was to place recreated pots in museums and thus preserve the ancient art form. Maria Martinez was known in the
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Creating black ware pottery is a long process that consists of many steps requiring patience and skill. Six distinct processes occur before the pot is finished. According to Susan Peterson in
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produce a shiny, evenly-polished surface. The pot is then ready to fire after a secondary slip is applied. The slip is painted onto the burnished surface in various traditional designs.
543:, began working alongside his mother, Maria began referring to herself as "Maria" on the pottery. They began co-signing their pieces around 1956 as "Maria+Poveka" and "Maria/Popovi."
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and finely powdered mineral substances became the preferred technique of painting and slowly caused the extinction of glazed pottery". In reality, the nearby inhabitants of
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people's legacy of fine artwork and crafts. The works of Maria Martinez, and especially her black ware pottery, are in the collections of many museums, including the
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juice and clay mixture provided a matte-on-shiny decorative effect. The process involved polishing the background, then matte-painting the designs before firing.
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1746:"Celebrating Pride Month at the Maxwell Museum of Anthropology: 3. Nampeyo, Maria Martinez, and Arroh-A-Och: Gender and Innovation in Pueblo Pottery"
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were discovered. While searching through the sandy dirt and red clay of the New Mexico desert terrain, broken pieces of biscuit ware were uncovered.
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techniques were becoming less common, but Martinez and her family experimented with different techniques and helped preserve the cultural art.
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634:. In 2022, Martinez was included in a book on Women's Work, noting the change from feminine arts to feminist art, by Ferren Gipson.
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design. Many of Julian's decorations were patterns adopted from ancient vessels of the Pueblos. These patterns included birds,
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818:. National Museum of Women in the Arts (U.S.), Heard Museum. (1st ed.). New York: Abbeville Press. pp. 62–68.
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María and Julián Martinez pit firing blackware pottery at P'ohwhóge Owingeh (San Ildefonso Pueblo), New Mexico (c.1920)
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experimented with and perfected on their own and for which there was no prior precedent, contrary to popular myth.
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in Philadelphia holds eight vessels – three plates and five jars – signed either "Marie" or "Marie & Julian".
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Roller, Ryan A. - Santa Clara Pueblo. Great-grandson of Margaret Tafoya. Seventh generation traditional potter.
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916:. Bard Graduate Center for Studies in the Decorative Arts. New Haven, CT: Yale University Press. p. 59.
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She won many awards and presented her pottery at several world fairs and received the initial grant for the
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Maria Martinez, 1912, making pottery in the plaza of the Palace of the Governor's, Santa Fe, New Mexico
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A long process of experimentation and overcoming challenges was required to successfully recreate the
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1185:. American Anthropological Association. Memoirs, no.12. Lancaster, Pa.: The New era printing company.
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In 1918, Julian finished the first of Maria's blackware pots with a matte background and a polished
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firing occurred early in the morning on a clear, calm day when wind would not hinder the process.
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Maria and Julian Martinez matte-on-glossy blackware wedding vase, ca. 1929, collection of the
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2019:
Women artists of color: a bio-critical sourcebook to 20th century artists in the Americas
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told people that she saw an alien on a mountain at eight. Her given name Po've'ka in the
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626:, a notable American sculptor. In 1978 Martinez had a major solo exhibition at the
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851:(2nd ed.). Santa Fe, New Mexico: Clear Light Publishers. p. 176 of 297.
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It is a common misconception that "during the end of the 18th century, the use of
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1371:"Maria Martinez: A Chronological Summary of her Various Time-Period Signatures"
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1318:"Maria Martinez Indian Pottery of San Ildefonso Pueblo (documentary video)"
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Pottery of the Pajarito plateau and of some adjacent regions in New Mexico
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Her artworks has been exhibited and are a part of the Permanent Collection
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not as precise as a brush is." He discovered that painting designs with a
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Women artists : works from the National Museum of Women in the Arts
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Women designers in the USA, 1900-2000 : diversity and difference
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1641:"Everson Museum :: Object of the Week: Plate by Maria Martinez"
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Martinez received honorary doctorates during her lifetime from the
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Pottery by American Indian women : the legacy of generations
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1289:. Philadelphia: University of Pennsylvania Press. p. 102.
1346:"Touched by Fire: The Art, Life, and Legacy of Maria Martinez"
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Martinez used a firing technique called "reduction firing". A
1966:"March 23 Art Minute: Maria Martinez, Blackware Pottery Jar"
1428:. Washington, D.C.: National Museum of Women in the Arts.
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tracks, rain, feathers, clouds, mountains, and zigzags or
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Julian and Maria Martinez digging clay in the early 1920s
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styles and techniques to create pieces which reflect the
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PUEBLO NATIONS: Eight Centuries of Pueblo Indian History
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An example of Maria Martinez' early redware work, c1925
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Maria Martinez Indian Pottery of San Ildefonso Pueblo
1056:. Santa Fe, New Mexico: Museum of New Mexico Press.
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Julian and Maria Martinez decorating pottery, c.1912
1449:Congdon, Kristin G.; Hallmark, Kara Kelley (2012).
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1721:"The Southwest | Jesse Peter Multicultural Museum"
1082:Historical Pottery of the Pueblo Indians 1600-1880
1264:. New York: Columbia University Press. p. 44
2021:. Westport, Conn.: Greenwood Press. p. 40.
1485:Women's work: from feminine arts to feminist art
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1768:"The Maria Martinez Family Pottery Collection"
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1860:"Maria Martinez, Popovi Da. Jar. 1960 | MoMA"
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2151:People from San Ildefonso Pueblo, New Mexico
251:, a community located 20 miles northwest of
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30:For other people named Maria Martinez, see
947:"Maria Martinez and San Ildefonso Pottery"
896:. New York: McGraw-Hill. pp. 262–263.
763:List of indigenous artists of the Americas
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1235:Traditional Fine Arts Organization (TFAO)
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1080:Frank, Larry; Harlow, Francis H. (1974).
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204:artist who created internationally known
1886:. National Museum of the American Indian
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873:"Penn Museum Online Collections Catalog"
350:in Santa Fe, examples of black-on-white
2045:The Living Tradition of Maria Martinez,
1452:American Folk Art: A Regional Reference
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1084:. Boston: New York Graphic Society Ltd.
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369:black pottery, since the 17th century.
1231:"Pueblo Clay, America's First Pottery"
1151:The Living Tradition of Maria Martinez
1098:Birchell, Donna Blake (5 April 2021).
1028:National Museum of the American Indian
949:. Medicine Man Gallery. Archived from
725:National Museum of the American Indian
465:The Living Tradition of Maria Martinez
415:in a July 1920 exhibition held at the
331:pot by Maria Martinez, c.1945, at the
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27:Native American potter (ca. 1887–1980)
1397:"MARIA POVEKA MARTINEZ - (1887-1980)"
389:Polychrome Avanyu plate by Maria and
7:
2161:20th-century Native American artists
1153:. Tokyo: Kodansha International Ltd.
750:University of Michigan Museum of Art
730:National Museum of Women in the Arts
346:and the founder and director of the
338:During an excavation in 1908 led by
263:had become readily available in the
2131:20th-century American women artists
1350:Museum of Indian Arts & Culture
1104:. Arcadia Publishing. p. 107.
1054:The Legacy of Maria Poveka Martinez
715:Museum of Fine Arts, St. Petersburg
2156:20th-century Native American women
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1946:. Smithsonian American Art Museum
1906:"Maria Martinez | Artist Profile"
427:Description of black ware pottery
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1748:. Maxwell Museum of Anthropology
1696:UTSA Institute Of Texan Cultures
977:Smithsonian American Art Mujseum
690:Jesse Peter Multicultural Museum
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118:San Ildefonso Pueblo, New Mexico
2126:20th-century American ceramists
1836:"Large Platter with Roadrunner"
1744:Lea S. McChesney (2022-06-22).
1179:Kidder, Alfred Vincent (1915).
784:San Ildefonso Self-Taught Group
768:List of Native American artists
740:Smithsonian American Art Museum
548:National Endowment for the Arts
32:Maria Martinez (disambiguation)
2146:Cowgirl Hall of Fame inductees
1792:. Minneapolis Institute of Art
1283:Fraser, Harry (Nov 17, 2000).
778:American Museum of Ceramic Art
695:Maxwell Museum of Anthropology
622:. Her portrait was created by
279:Maria Poveka Montoya was born
191:Maria Poveka Montoya Martinez
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2136:Native American women potters
1168:. Flagstaff: Northland Press.
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194:
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2171:San Ildefonso Pueblo potters
2077:Fact sheet on Maria Martinez
2047:Kadansha International Ltd.
1698:. 2018-10-01. Archived from
705:Minneapolis Institute of Art
437:Fred Jones Jr. Museum of Art
247:Maria Martinez was from the
1487:. London: Frances Lincoln.
1164:Spivey, Richard L. (1979).
1101:New Mexico Mission Churches
1052:Spivey, Richard L. (2003).
710:Museum of Fine Arts, Boston
685:Institute of Texan Cultures
2187:
1509:"Birmingham Museum of Art"
910:Kirkham, Pat, ed. (2000).
381:Challenges and experiments
365:, had produced the highly
265:Southwestern United States
234:Metropolitan Museum of Art
184:, documentary video, 1972.
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2116:Ceramists from New Mexico
1770:. Millicent Rogers Museum
1575:. Cleveland Museum of Art
1455:. ABC-CLIO. p. 518.
1030:. Smithsonian Institution
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1970:The Toledo Museum of Art
1864:The Museum of Modern Art
1258:Bunzel, Ruth L. (1929).
1219:. Albuquerque: Starline.
1149:Peterson, Susan (1977).
1002:Art Institute of Chicago
973:"Artist: Maria Martinez"
814:Peterson, Susan (1997).
645:Birmingham Museum of Art
620:University of New Mexico
417:New Mexico Museum of Art
2141:Native American potters
2043:Peterson, Susan (1977)
2017:Farris, Phoebe (1999).
1995:exchange.umma.umich.edu
1553:. Cincinnati art Museum
1483:Gipson, Ferren (2022).
773:Native American pottery
700:Millicent Rogers Museum
660:Cleveland Museum of Art
632:Smithsonian Institution
220:, examined traditional
200:– July 20, 1980) was a
97:Territory of New Mexico
2121:American women potters
1531:www.brooklynmuseum.org
1424:Heller, Nancy (2000).
890:Getlein, Mark (2010).
847:Sando, Joe S. (1998).
616:University of Colorado
555:Pottery making process
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41:Maria Montoya Martinez
18:Maria Montoya Martinez
1375:Palms Trading Company
675:Everson Museum of Art
655:Cincinnati Art Museum
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240:, and more. The
2073:at Wikimedia Commons
1725:museum.santarosa.edu
1217:Maria Making Pottery
1215:Hyde, Hazel (1973).
745:Toledo Museum of Art
720:Museum of Modern Art
352:biscuit ware pottery
348:Museum of New Mexico
288:San Ildefonso Pueblo
253:Santa Fe, New Mexico
249:San Ildefonso Pueblo
210:Maria Poveka Montoya
152:San Ildefonso School
128:San Ildefonso Pueblo
93:San Ildefonso Pueblo
79:Maria Poveka Montoya
1840:Museum of Fine Arts
1816:collections.mfa.org
1621:. Denver Art Museum
945:Sublette, J. Mark.
789:Black-on-black ware
735:Portland Art Museum
490:reducing atmosphere
399:black-on-black ware
329:black-on-black ware
1672:. Gilcrease Museum
1599:Crocker Art Museum
665:Crocker Art Museum
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404:Santa Clara Pueblo
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363:Santa Clara Pueblo
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2069:Media related to
1527:"Brooklyn Museum"
1494:978-0-7112-6465-6
1462:978-0-313-34936-2
1286:The Electric Kiln
1261:The Pueblo Potter
1111:978-1-4671-4493-3
879:. March 26, 2020.
670:Denver Art Museum
342:, a professor of
286:or 1887. Born in
238:Denver Art Museum
208:. Martinez (born
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2166:Tewa potters
2101:1880s births
2086:Find a Grave
2044:
2018:
1998:. Retrieved
1994:
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1974:. Retrieved
1972:. 2020-03-23
1969:
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1948:. Retrieved
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1700:the original
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115:(aged 92-93)
2106:1980 deaths
1468:29 December
1409:29 December
1381:30 December
1240:29 December
1117:29 December
957:October 15,
877:Penn Museum
638:Collections
524:road runner
506:Decorations
344:archaeology
284: 1886
242:Penn Museum
230:Smithsonian
198: 1887
124:Nationality
68: 1925
2095:Categories
2000:2021-01-12
1976:2021-01-12
1915:2021-01-12
1869:2021-01-12
1845:2021-01-12
1821:2021-01-12
1730:2021-01-12
1706:2021-01-12
1655:2021-01-12
1604:2021-01-12
1536:2021-01-12
1296:0812217586
1063:0890134197
923:0300093314
795:References
534:Signatures
305:water lily
292:New Mexico
275:Early life
261:enamelware
259:and Anglo
130:, American
1950:6 January
1890:6 January
1796:6 January
1774:6 January
1676:6 January
1625:6 January
1579:6 January
1557:6 January
541:Popovi Da
391:Popovi Da
367:burnished
301:pond lily
218:Popovi Da
63:Martinez
2037:40193578
1330:15 April
1302:15 April
1268:15 April
932:45486311
834:36648903
757:See also
618:and the
202:Puebloan
149:Movement
143:Ceramics
82:ca. 1887
50:Po've'ka
1752:22 June
1323:YouTube
630:of the
530:steps.
459:Process
410:-style
311:History
257:tinware
206:pottery
139:Pottery
109: (
84: (
2051:
2035:
2025:
1812:"Bowl"
1491:
1459:
1432:
1326:. 1972
1293:
1108:
1060:
1034:2 July
1008:2 July
1004:. 1886
982:2 July
930:
920:
855:
832:
822:
610:Honors
520:Avanyu
484:Firing
449:avanyu
393:, 1969
299:means
236:, the
232:, the
226:Pueblo
214:Julian
157:Spouse
1595:"Jar"
1400:(PDF)
1166:Maria
1024:"Jar"
513:guaco
473:pukis
451:, or
412:adobe
2049:ISBN
2033:OCLC
2023:ISBN
1952:2021
1910:NMWA
1892:2021
1798:2021
1776:2021
1754:2023
1678:2021
1627:2021
1581:2021
1559:2021
1489:ISBN
1470:2021
1457:ISBN
1430:ISBN
1411:2021
1383:2021
1357:2018
1332:2020
1304:2020
1291:ISBN
1270:2020
1242:2021
1119:2021
1106:ISBN
1058:ISBN
1036:2023
1010:2023
984:2023
959:2012
928:OCLC
918:ISBN
853:ISBN
830:OCLC
820:ISBN
528:kiva
499:kiln
444:olla
408:kiva
374:Tewa
111:1981
107:1980
104:Died
86:1887
75:Born
2084:at
442:An
303:or
2097::
2031:.
1993:.
1968:.
1908:.
1862:.
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1723:.
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1250:^
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1026:.
1000:.
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902:^
875:.
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419:.
327:A
307:.
290:,
281:c.
195:c.
141:,
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2039:.
2003:.
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1954:.
1932:.
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193:(
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34:.
20:)
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