Vrouwenfiguur met zes kinderfiguurtjes, zogenaamde "storyteller," een specialiteit van Dorothy Trujillo.<BR> <BR> Dorothy Trujillo was born in 1932 Jemez as Dorothy Loretto, and went to live in Cochiti Pueblo after marrying Onofre Trujillo. Her husband was a jeweller. Dorothy learned the art of potterymaking during her childhood at Jemez, especially during the summers when she was not attending San Diego Mission School in California. Her tutors were her mother Carrie Reid and grandmother Lupe Madalena Loreto who both came from Laguna Pueblo. At an early age she made small pottery figures of mothers with babies, Indians in canoes, and portrait busts of Indian chiefs.<BR> <BR> Dorothy married Onofre Trujillo of Cochiti who was a jeweller, and went to live with her husband's relatives. There she asked and received official permission f the govenor to learn making pottery in the Cochiti style (MSK 47). Onofre Trujillo’s aunt Damacia Cordero became her tutor. Her earliest known storyteller dates from before 1970, and she makes them with varying numbers of babies and children, sometimes up as much as 125 (Cante 52). Some of her storytellers are quite large, up to 10 inches. She also began making nativity groups, and made a very large group for St. Bonaventure Church. Her origin from Jemez still transpires in het Cochiti style ceramic work, such as a darker buff or light tan slip (90). Her work is usually bold and crisp; characteristic is an incised T-shape in the storyteller's hair, indicating the parting. and not a trademark as has been assumed (104-5). Because of the commercial success of his wife's work, Onofre gave up making jewelry and assisted his wife in the many tasks involved in potterymaking. He also produced small bears with tos in their paws (MSK 47,56). She has work in collections at the Smithsonian Institution in Washington DC, and the Heard Museum in Phoenix, AZ. (Schaaf 2002:312). Dorothy Trujillo taught her two daughters the art of pottery, continuing the cherished tradition. She died in 1999.<BR> <BR> Margot Spiegel-Kramer befriended Dorothy Trujillo on het first visit to Cochiti in 197? and returned frequently afterwards. Dorothy showed het Dutch friend how she made storytellers, teaching her the finer points of firing Indian style. Both potters also exchanged lumps of clay and Dorohy was quite pleased how het bowls made from white Dutch clay turned out (Spiegel-Kramer z.j.:44-48,56).<BR> <BR> Babcock 42, 90, 133<BR> <BR> <BR> <BR> <BR> <BR> Cochito pottery was traditionally slipped in white-cream-light gray, and painted in black and red. Cochiti Pueblo stands out as a center of the manufacture of pottery figurines, both human and animal. Production increased dramatically when Santa Fe traders purchased such figurines for a rapidly expan¬ding tourist market after the intercontinental railroad was completed in 1883. However, the technical and artistic quality deterio¬rated quickly as emphasis was on mass production. Because of their crude shapes, these figures were referred to as "monos", the Spanish name for "monkeys". However, between 1910 and 1930 a number of potters turned to producing figuri¬nes of high quality.<BR> <BR> Potter Laurencita Herrera (1912-1984) and her husband Nestor Herrera, a drum maker, headed a whole family of potters. The daughters Mary Herrera (d. 1991) and Seferina Ortiz (b. 1931) learned the craft from their mother, concentrating on bowls, water jars and figurines. Seferina began experimen¬ting with miniature clay figurines in the 1960s, gradually doing larger pieces and quickly became an expert at making lifelike images of people and animals. Through this work she not only inspired her own children Joyce Lewis (b. 1954), Janice (b. 1956), Inez (b. 1960) and Virgil (b. 1969), but also her sister and moth-er. People, including circus people and storytellers, and bears are the most popular subjects. The work of Virgil Ortiz, human figures mocking whites from various walks of life, is the most innovative and artistically accomplished. Miniature figurines and pots are also made, including nativity scenes (Dillingham 1994:119-128).<BR> <BR> Helen Cordero (b. 19 ) had a major impact on Pueblo pottery by creating her first "storyteller" figure, a woman crowded upon by little children listening to her tales. Since the late 1960s the storyteller figuri¬ne has become an icon of Pueblo pottery and is being sculpted in many Indian villages in New Mexico. A popular variation is the story¬telling bear with cubs (Babcock and Monthan 1986).<BR> <BR> Ada Suina<BR> <BR> Seferina Ortiz who came from a long line of potters began making pottery in the late 1950s and specialized in figures of animals and people. Four of her six children have also learned the craft. Virgil Ortiz has become an outstanding potter of large outlandisch and at the same time somehow familiar figures of a variety of people, including circus people and performers, carnival personae and types dressed up in sexually explicit attire. His success in the marketplace enabled him to open a training center for young potters in his village, thus contribuiting to the economic viability of the pueblo, and the continuity of a successful pottery tradition.<BR> <BR> Dorothy Trujillo was born in 1932 Jemez as Dorothy Loretto, and went to live in Cochiti Pueblo after marrying Onofre Trujillo. Her husband was a jeweller. Dorothy learned the art of potterymaking during her childhood at Jemez, especially during the summers when she was not attending San Diego Mission School in California. Her tutors were her mother Carrie Reid and grandmother Lupe Madalena Loreto who both came from Laguna Pueblo. At an early age she made small pottery figures of mothers with babies, Indians in canoes, and portrait busts of Indian chiefs.<BR> <BR> Dorothy married Onofre Trujillo of Cochiti who was a jeweller, and went to live with her husband's relatives. There she asked and received official permission f the govenor to learn making pottery in the Cochiti style (MSK 47). Onofre Trujillo’s aunt Damacia Cordero became her tutor. Her earliest known storyteller dates from before 1970, and she makes them with varying numbers of babies and children, sometimes up as much as 125 (Cante 52). Some of her storytellers are quite large, up to 10 inches. She also began making nativity groups, and made a very large group for St. Bonaventure Church. Her origin from Jemez still transpires in het Cochiti style ceramic work, such as a darker buff or light tan slip (90). Her work is usually bold and crisp; characteristic is an incised T-shape in the storyteller's hair, indicating the parting. and not a trademark as has been assumed (104-5). Because of the commercial success of his wife's work, Onofre gave up making jewelry and assisted his wife in the many tasks involved in potterymaking. He also produced small bears with tos in their paws (MSK 47,56). She has work in collections at the Smithsonian Institution in Washington DC, and the Heard Museum in Phoenix, AZ. (Schaaf 2002:312). Dorothy Trujillo taught her two daughters the art of pottery, continuing the cherished tradition. She died in 1999.<BR> <BR> Margot Spiegel-Kramer befriended Dorothy Trujillo on het first visit to Cochiti in 197? and returned frequently afterwards. Dorothy showed het Dutch friend how she made storytellers, teaching her the finer points of firing Indian style. Both potters also exchanged lumps of clay and Dorohy was quite pleased how het bowls made from kaolin clay turned out (Spiegel-Kramer z.j.:44-48,56).<BR> <BR> Cochiti is also known for its artists working in watercolors and the manufacture of cottonwood drums used in Pueblo dances and ceremonies beyond Cochiti.<BR>