Who painted Portfolio XVII, Plate 602: The Potter - Santa Clara?

Portfolio XVII, Plate 602: The Potter - Santa Clara was painted by Edward S. Curtis in 1905.

Where can I see Portfolio XVII, Plate 602: The Potter - Santa Clara?

Portfolio XVII, Plate 602: The Potter - Santa Clara is held by Cleveland Museum of Art.

Artwork

Portfolio XVII, Plate 602: The Potter - Santa Clara

Edward S. Curtis , 1905

Portfolio XVII, Plate 602: The Potter - Santa Clara is a work on paper by Edward S. Curtis. It dates from 1905 and is held in the collection of the Cleveland Museum of Art. This photograph, titled *The Potter – Santa Clara*, was produced by Edward S.

About this work

A woman sits on the floor, shaping clay into a pot with her hands. She wears a patterned dress and a shawl, and her hair is pulled back. The room is simple—dirt floors, a low stool, and a bowl on the ground.

This photo was taken in 1905 as part of a larger project about Native American life.

Check out The Cleveland Museum of Art to see this image in person.

Overview

This photograph, titled *The Potter – Santa Clara*, was produced by Edward S. Curtis in 1905. Part of his expansive documentation of Indigenous cultures, the image captures a moment of craftsmanship within a Santa Clara Pueblo household. The composition centers on a woman engaged in traditional pottery-making, offering a glimpse into daily life at the turn of the twentieth century.

Subject & Meaning

The photograph depicts a Santa Clara woman seated on a dirt floor, forming clay into a vessel by hand. Her attire—a patterned dress and shawl—alongside her pulled-back hair, reflects cultural practices of the time. The scene emphasizes the intimate, labor-intensive process of pottery production, a skill passed down through generations and integral to Santa Clara identity and economy.

Technique & Style

Curtis employed a straightforward, observational approach, using natural light to illuminate the subject and her surroundings.

Curtis employed a straightforward, observational approach, using natural light to illuminate the subject and her surroundings. The photograph’s composition avoids overt dramatization, instead favoring a direct, unembellished record of the scene. The tonal range and clarity underscore the textures of the clay, fabric, and earthen floor, aligning with the documentary style of early 20th-century ethnographic photography.

History & Provenance

Created in 1905, *The Potter – Santa Clara* is part of Curtis’s *The North American Indian*, a 20-volume project aimed at preserving Indigenous lifeways. The photograph entered the collection of The Cleveland Museum of Art, where it remains as a visual record of Santa Clara Pueblo traditions. Its inclusion in the portfolio reflects broader efforts to document Native American communities during a period of rapid cultural change.

Context

At the time of its creation, Curtis’s work responded to widespread interest in Indigenous cultures, often shaped by romanticized or reductive narratives. While his project sought to preserve a record of Native American life, it also reflected the era’s colonial perspectives. The photograph’s depiction of pottery-making, however, highlights a practice that endured despite external pressures, underscoring the resilience of Santa Clara artistic traditions.