Hopi tewa pottery nampeyo biography definition

Nampeyo was born in the village of Hano on First Mesa in northern Arizona. From the time of her teens until her death inNampeyo found herself an object of great interest to the world outside of Hopi. Her tremendous skill as a potter and painter, combined with a willingness to interact with the non-Indian world, conspired to elevate Nampeyo to near legendary status.

First captured on camera by photographer William Henry Jackson inNampeyo became perhaps the most photographed potter in the Southwest, rivaled only by Maria and Julian Martinez of San Ildefonso. Perhaps most significantly, through her life and works she inspired her children and subsequent generations to make their livings and stay rooted in their family traditions by creating in clay.

Much scholarly ink has been spilled speculating on exactly how Nampeyo was inspired to make pottery based on prehistoric designs. Research-ers refer to her style as Sikyatki Revival after the proto-historic site by that name on First Mesa. Current consensus holds that trader Thomas Varker Keam, who opened a trading post at First Mesa inencouraged Nampeyo and probably other potters to supply pottery for a growing tourist market.

Know-ing how well ancient wares sold, Keam suggested that they be used as models. Some believe that Nampeyo and her husband Lesso also spel-led Lesou —like Maria and Julian Martinez—worked as a team in forming and painting pottery. Others are more in-clined to believe that Lesso filled the traditional support roles of helping to gather and process the required raw materials.

Hopi tewa pottery nampeyo biography definition

Her design repertoire is largely based on stylized bird claw and feather motifs and cross-hatching often referred to as Hopi migration patterns. Much has yet to be learned about her tall-shouldered jars, but they are generally thought to be among her later works, likely commissioned to hold such items as umbrellas. Throughout her pottery-making career, Nampeyo slowly lost her eyesight due to an eye affliction.

The older she got, the more she relied upon her daughters and other family members to assist her with painting. The name Nampeyo has come to be synonymous with virtuosity in American Indian pottery art. Throughout the 20th century, a talented array of Nampeyo progeny have continued in the tradition and spirit of their Hopi-Tewa ancestor.

Fannie Nampeyo Popong Mana, c. Fannie began making pottery in her early 20s, teaming up with her mother by painting the pots that the near-blind Nampeyo was still able to expertly form. As with many artists, Fannie held other jobs and interests throughout her life. She started out as a teen working for Hopi House in the housekeeping department.

Retrieved April 7. McChesney and Thomas Keam. The Nampeyo legacy. Southwest Art [serial online]. August ;31 3 — WilsonIpswich, MA. Accessed December 5, The legacy of a master potter : Nampeyo and her descendants. Blair, Laurence R. Tucson: Treasure Chest Books. Pottery by American Indian women: the legacy of generations. November 10, Arizona State MuseumUniversity of Arizona.

Denver Art Museum. Tennessee Today. University of Tennessee. August 29, The Taos News. June 20, Archived from the original on Retrieved Further reading [ edit ]. External links [ edit ]. Wikimedia Commons has media related to Nampeyo. Arizona Women's Hall of Fame — by year of induction. Lockwood Anna Moore Shaw. Nellie T. Sparkes Louisa Wade Wetherill.

See also:. Maria Martinez Biography. Trending Here are the facts and trivia that people are buzzing about. Jewish Holidays, A. Fewkes occasionally worried that Nampeyo's pots so beautifully captured the spirit of the Sityatki style, that they might be sold by greedy hopi tewa pottery nampeyo biography definition as genuine prehistoric artifacts.

When the demand for her work soared, Nampeyo did her best to meet the need by decreasing the size of the vessels, and commissioning her husband and daughters to help her apply the designs. She left the reservation inand again in to demonstrate her talent in displays put on for tourists at Fred Harvey's Hopi House, a luxury hotel located in the Grand Canyon.

Bythe Hopi potter had attained a glowing artistic reputation in Europe as well as the United Statesand did her second Chicago exhibition in that year. Smithsonian anthropologist Walter Hough said that Nampeyo's vessels "attained the quality of form, surface, fire change, and decoration of the ancient ware which [gave] it artistic standing. Before Nampeyo, the majority of the outside world thought of Native American ceramic wares as nothing more than charming Southwestern souvenirs.

Nampeyo's mastery, however, made the world look at the craft of pottery with fresh eyes. Her efforts single—handedly elevated Hopi pottery to the level of an art form, raising the esthetics to a plateau that allowed the outside world to treat it with critical respect. A lack of written records has created dissension regarding the accuracy of much of the biographical information published about Nampeyo, but her status as the most significant Hopi potter is never disputed.

The potter's golden years were spent in the loving care of her children. It is said that she found child—like joy in simple things, and adored interacting with her young grandchildren. She formed pots almost to the day of her death, and allowed her family to decorate them in the style she had revived and perfected. Nampeyo remained a humble member of her community, despite international recognition, and took part in the everyday social ceremonies, work parties, and food exchanges of her village.

She died July 20, in her home in Hano, her 70—year career inspiring hundreds of Pueblo potters, including at least 75 family members, to support themselves with their wares. Her artistry and skill also became a source of great pride for her people, and bred a new—found respect for Native American culture. Bowman, John S. Garraty, John A. Heller, Jules and Nancy G.

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