nd Julian. The two had perfected their black on black technique, and then spent the remainder of their careers with the pueblo, making a lucrative living producing their work for museums and collectors worldwide. To own a piece of work by either half of this incredible couple is a symbol for modern collectors of an awareness of the finer qualities of pueblo pottery. Such is the case throughout the world and not just for the collectors and appreciators of Southwestern art and creation.Most of the early works by Maria and Julian Martinez are unsigned. This ranges in the years from 1918-1923. By 1923 Maria began signing their pieces with a simple “Marie”. Julian, her husband’s name, was not signed on the pieces due to the pueblo conception that pottery was women’s work. By 1925 and up until Julian’s death in 1943, Maria shared the signature with Julian. The newer signature used was “ Marie & Julian” (west 22).There is some thought that Maria signed her name as Marie instead of Maria because she was told falsely told that “Marie” was a more familiar name than “Maria” to the non-Indian general public. Because of this she signed the name “Marie” for over thirty long years. Following the publication of Alice Marriott’s book, Maria: The Potter of San Ildefonso, she began signing her true name “Maria” on all her pieces. In the telling, it may be difficult to look back at suck an incident, and realize the power differential between the Indian and the Anglo world. However, in the art world, such distinction has merit in terms of the individual artist’s own expression of their perception (Maloof).It is necessary for us not to fall into a pattern of judgment about such biasness or discrimination against her people and culture, but to simply acknowledge the reality of the situation. From the art perspective, it may be possible that the w...
