Julián Martinez Original Painting of a Tewa Antelope Dancer

This is an exceptional piece by Julian Martinez, a cornerstone figure of San Ildefonso Pueblo art. While many know him as the husband and design collaborator of the legendary potter Maria Martinez, Julian was a master painter in his own right. 

This original painting is a masterful example of the "Single-Figure" format — a style Julian Martinez preferred for its ability to focus the viewer's entire attention on the spiritual gravity of the subject. Executed in water-based pigments on paper, the work captures the Dancer not just as a man in costume, but as a bridge between the human and animal worlds. In Tewa culture, the Animal Dancers perform a ceremony of respect and petition to the animal spirits. Julian's attention to detail provides a roadmap of this sacred tradition:

The dancer's face is painted coal-black, symbolizing his transition from the secular world into the spirit of the animal. This is framed by a prominent headdress with feathered embellishments that cascade down the neck, mimicking the powerful silhouette of the animal. One of the most striking elements is the pair of feathered dance wands. In the dance, these function as the antelope's front legs; the dancer leans upon them to mimic the gait and movements of the animal.

The dancer wears a traditional white cotton blouse and a black kilt, secured by a hand-woven belt. Note the skunk fur tied around the heels of the embellished moccasins — a traditional element used to ward off malevolent spirits and protect the dancer during the ceremony. Above the white cotton garters and red yarn ties sit leather straps adorned with brass bells. In a live performance, these provide the rhythmic heartbeat of the dance, a detail Julian suggests through the crisp, clean lines of his brushwork.

The painting is signed Julian Martinez in lower right. It was recently reframed in high-quality, archival materials, including a black frame and beige matting.

Julian's process began with a precise contour pencil sketch, providing the structural integrity for the opaque pigments that follow. In some instances, it appears that Julian did not fill in the pencil lines with pigment. The result is a "subtly beautiful" image that feels both flat and dimensional — a hallmark of the early 20th-century San Ildefonso school. 

Julián Martinez (1885-1943) Pocano "Coming of the Spirits" occasionally experimented with complex mythical motifs (such as the Avanyu water serpent).  It is in these quiet, dignified portraits of Pueblo life where his technical skill truly shines.

Condition: appears to be in good condition but has not been examined out of the frame.

Provenance: this Julián Martinez Original Painting of a Tewa Antelope Dancer is from a private New Mexico collection.

Recommended Reading: Modern by Tradition: American Indian Painting in The Studio Style by Bruce Bernstein and W. Jackson Rushing

TAGS: San Ildefonso Pueblo, Maria Martinez, Popovi Da, pottery, paintings, Julián Martinez