Maria Montoya Poveka Martinez, a name synonymous with innovation and artistry in Native American pottery, stands as a towering figure among Pueblo potters. Her legacy extends far beyond the exquisite black-on-black pottery that she and her husband, Julian, pioneered. Maria Montoya Poveka Martinez revitalized a craft on the verge of extinction, transforming it into a celebrated art form recognized and collected globally. Her story is one of cultural preservation, artistic ingenuity, and enduring impact.
A Life Rooted in San Ildefonso Pueblo
Born Maria Antonia Montoya in the San Ildefonso Pueblo, New Mexico, Maria Montoya Poveka Martinez entered the world sometime between 1881 and 1887. While the exact date remains unrecorded, most sources lean towards 1887. The San Ildefonso Pueblo of her childhood was a modest community, a cluster of approximately twenty adobe houses nestled on the eastern bank of the Rio Grande.
Following tradition, she received a Tewa name, Po-Ve-Ka, meaning "Pond Lily," from her mother, Reyes Pena, and father, Thomas Montoya. Thomas, a man of diverse skills, supported his family of five daughters through farming, carpentry, and cowboy work. This upbringing instilled in Maria a deep connection to the land and the traditions of her people.
Family Influences and Collaborations
The Martinez family played a crucial role in Maria’s artistic journey. Her husband, Julian Martinez, also known as Pocano, meaning "Coming of the Spirits" in Tewa, was her artistic partner and collaborator. Julian’s artistic talents extended beyond pottery decoration; he was also an easel painter, creating scenes of Pueblo rituals and abstract designs using colored pencil and watercolor. He even painted murals at the Santa Fe Indian School in Santa Fe, New Mexico, and Mesa Verde National Park in Colorado, showcasing his versatility.
After Julian’s passing in 1943, other family members stepped in to assist Maria. Her eldest son, Adam Martinez, and his wife, Santana Roybal, contributed to the pottery-making process. Santana, in particular, took over the painting duties until Maria began collaborating with her younger son, Popovi Da (born Antonio Martinez). Adam and Santana eventually established their own successful pottery careers, passing down their knowledge and skills to their seven children, who have also become accomplished potters.
Popovi Da played a significant role in the later years of Maria’s career. His contributions included design and firing expertise, further enhancing the quality and innovation of their collaborative pieces.
Learning the Ancient Craft
Maria’s journey into pottery began in her childhood, around the age of seven or eight. She learned the fundamentals of the craft by observing her aunt, Nicolasa Pena, an accomplished potter. Initially, she crafted miniature toy dishes for her dolls, gradually mastering the traditional techniques.
During Maria’s formative years, Pueblo pottery faced a significant challenge. The arrival of the railroad in New Mexico in 1880 brought with it mass-produced enamel pots and storage vessels, threatening to displace the need for traditional pottery. Once essential for cooking, carrying, and storing food and water, pottery became less practical as metal alternatives became readily available. The traditional knowledge and skills associated with pottery making began to decline rapidly.
Before the railroad’s arrival, the Hispanic and Pueblo peoples of the Rio Grande valley relied heavily on Pueblo pottery for their household needs, minimizing their reliance on cash. Within a decade of the railroad’s arrival, metal containers became commonplace, and the art of pottery making teetered on the brink of extinction.
As tourism began to grow in the area, some Pueblo artisans sold simple, undecorated pots to tourists. However, pottery was not yet considered an art form, and much of the traditional knowledge had been lost over the generations. It was against this backdrop that Maria Montoya Poveka Martinez and Julian Martinez embarked on their mission to revive and transform Pueblo pottery.
The Accidental Discovery of Black-on-Black Pottery
The Martinez’s early work involved crafting small-scale pieces painted in various earth-toned colors, selling them as curios from 1908 to 1912. A pivotal moment in their career occurred in 1907 when Julian took on extra work as a farmer and met archaeologist Edgar Lee Hewitt, a member of the Museum of New Mexico’s anthropology and archaeology department.
Hewitt was leading an excavation at the Frijoles Canyon, a site once inhabited by the ancestors of the Pueblo people, the Anasazi. During the excavation, Hewitt unearthed fragments of ancient black pottery, distinct from the contemporary San Ildefonso style. Julian Martinez participated in the excavation as a native worker, while Maria was hired to cook for the team.
Impressed by Maria’s reputation as a skilled potter, Hewitt approached the couple with a challenge: to reconstruct the prehistoric pottery. Maria accepted the challenge and, through meticulous observation and experimentation, rediscovered the appropriate clay base needed to create the thin, highly polished pots of her ancestors.
However, the distinctive black coloring of their pottery was discovered almost by accident. Through trial and error, they found that by smothering the fire during the firing process, they could create a reduction atmosphere, resulting in the signature black finish. Julian then perfected a painting technique that gave a matte finish to the painted designs, contrasting beautifully with the polished black surface of the pot. This marked the birth of the famous black-on-black pottery that would define their careers.
A Legacy of Innovation and Collaboration
In 1923, the Martinez’s further refined their process by reversing the pattern on the pots. Instead of painting the design in a shiny finish, they created a matte design on a polished body, enhancing the visual contrast and aesthetic appeal.
Original pieces by Maria Montoya Poveka Martinez are now highly sought after by collectors. Pots that once sold for a few dollars can now fetch thousands, reflecting the immense appreciation for her artistry and historical significance.
The success of the Martinez’s pottery brought both fame and challenges. The influx of tourists and non-Native culture exposed Julian to the temptations of alcohol, leading to his tragic death in 1943. However, Maria continued her work, collaborating with her sons and daughter-in-law to maintain the family’s artistic legacy.
Signatures: A Reflection of Collaboration
The signatures on Maria Martinez’s pottery provide valuable insights into her collaborative partnerships and evolving artistic practice. Initially, until 1923, her work remained unsigned. It was believed in Pueblo culture that pottery making was a collective effort, and individual recognition was not emphasized.
However, encouraged by the founder of the Museum of New Mexico, Maria began signing her work. This marked a turning point, elevating pottery to the status of a collectible art form. The signatures evolved over time, reflecting the contributions of her collaborators:
- Unsigned (1918-1923): Early works made by Maria and Julian.
- Marie (1923-1925): Pottery made by Maria and painted by Julian.
- Marie + Julian (1925-1943): Pottery made by Maria and painted by Julian.
- Marie + Santana (1943-1954): Pottery made by Maria, with design and firing assistance from Adam and Santana.
- Maria Poveka: Plain, polished, undecorated pieces made solely by Maria.
- Maria/Popovi: Pottery made by Maria with design and firing assistance by Popovi Da.
A Cultural Ambassador
Beyond her artistic achievements, Maria Montoya Poveka Martinez served as an ambassador for her pueblo and Native American people. As early as 1904, she and Julian demonstrated their pottery-making skills at the Louisiana Purchase International Exposition in St. Louis. In subsequent years, they participated in fairs in San Diego, Chicago, San Francisco, and New York. Despite prevailing prejudices, Maria’s work was well-received, helping to challenge stereotypes and promote understanding of Native American culture.
Maria Montoya Poveka Martinez also embraced the opportunities presented by the growing tourism industry. She and Julian were hired by the Fred Harvey Company to lead tours of San Ildefonso Pueblo, allowing them to share their culture and craft with visitors. She also frequently demonstrated pottery making at the museum, further educating the public about Pueblo traditions.
An Enduring Legacy
Maria Montoya Poveka Martinez died on July 20, 1980, in the San Ildefonso Pueblo where she was born and lived most of her life. Her impact on the art world and the cultural landscape of the Southwest is immeasurable. By revitalizing a dying art form, she empowered others in her community to make a living through their artistic talents. San Ildefonso Pueblo, once a small community, is now a thriving center for artists and galleries, thanks in large part to Maria’s pioneering work. Her techniques and designs have been adopted by numerous artists, and her legacy continues to inspire generations of potters. Maria Montoya Poveka Martinez transformed a simple craft into a highly respected art form, leaving an indelible mark on the world.