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The following works highlight Lane’s experimental approach to ceramic art and his striking visual style, which continue to captivate people decades after his death.
Doyle Lane, Mutual Savings and Loan Mural, 1964. Glazed earthenware, 100 × 216 in. Gift of MS Property Company. The Huntington Library, Art Museum, and Botanical Gardens.
When most people think of ceramics, they picture functional objects such as bowls, plates, or vases. However, from the 1950s to the 1970s, several California ceramicists, such as Doyle Lane, Peter Voulkos, and Viola Frey, created large-scale experimental works that challenged what ceramics could be. These experimental approaches to working with clay sparked an artistic revolution known as the California clay movement.
Lane, who was an important part of that revolution, was also involved in a related artistic movement, the Southern California studio ceramics movement, which embraced abstract art, monumental architecture, and experimental glazes.
Compared to his contemporaries, Lane faced unique prejudice and barriers as a Black and closeted gay artist, yet he continued to pursue ambitious projects that expanded the possibilities of ceramic art.
This large-scale architectural mural, made of more than 4,800 individually shaped, glazed, and carefully arranged earthenware tiles, was commissioned for the Mutual Savings and Loan Bank in Pasadena in 1964. By bringing ceramics into public spaces, Lane helped challenge expectations about where ceramic art belonged and expanded the medium’s possibilities. Today, the mural welcomes visitors to The Huntington, much as it once welcomed customers to the bank.
Create Innovative Public Art
Doyle Lane. “Mutual Savings and Loan Mural,” n.d. web page. https://www.huntington.org/collections/mus-54110.
Lauren Cross. Doyle Lane: Master of Clay. The Huntington, 2026.
The Huntington. “First Major Museum Retrospective Explores the Legacy of Pioneering Ceramic Artist Doyle Lane,” webpage, March 24, 2026. https://www.huntington.org/watch-read-listen/news/first-major-museum-retrospective-explores-legacy-pioneering-ceramic-artist.
Doyle Lane, Orange, Black, and Red Butterfly Clay Painting, ca. 1970. Glazed ceramic mounted on board, 12 × 12 in. Gift of Cynthia Jackson. The Huntington Library, Art Museum, and Botanical Gardens.
Doyle Lane’s desire to innovate with ceramics did not stop at the size of his artworks, as seen in his large architectural murals. In his studio, he also experimented with new glazing techniques that displayed his distinctive artistic style.
Lane’s knowledge of chemistry was indispensable to his glazing process. His interest in science likely started in high school, where he was a member of his school’s science club. Before his career as an artist, he worked as a glaze technician for the L. H. Butcher Company, an industrial chemical company, where he developed a deep understanding of ceramic materials and firing techniques. He applied this technical knowledge in his experiments with ceramic glazes, developing a style uniquely his own.
This clay painting highlights Lane’s innovative approach to glazing. Firing his ceramics multiple times created unique cracked surfaces, known as craquelure. Rather than seeing these cracks as mistakes, as many artists did, Lane embraced them, making them an important part of the finished artwork. He also experimented with abstract forms and bold colors, reflecting his interest in modernist design.
Many of Lane’s most experimental works were never intended for sale or exhibition. Instead, he often shared them with close friends and supporters, like his longtime friend Cynthia Jackson, to whom he gifted this butterfly clay painting. It’s one of many artworks he shared over their decades-long friendship. These trusted relationships gave Lane the freedom to explore new ideas and continue developing his artistic voice.
Create an Artist’s Journal
Doyle Lane. “Orange, Black, and Red Butterfly Clay Painting,” n.d. web page. https://www.huntington.org/collections/mus-64320.
Lauren Cross. Doyle Lane: Master of Clay. The Huntington, 2026.
New Orleans Museum of Art. Object Lesson: Doyle Lane, webpage, 2022. https://noma.org/object-lesson-doyle-lane.
Doyle Lane, Orange Tall Pot, ca. 1960s. Glazed ceramic, 2 1/2 × 4 in. Gift of Cynthia Jackson. The Huntington Library, Art Museum, and Botanical Gardens.
Doyle Lane experimented throughout his career to pursue new creative pathways. He studied and was inspired by many ceramic traditions, including the Japanese wabi-sabi aesthetic, which values the beauty of imperfection. Rather than copying these traditions, Lane combined them with his own glazing techniques and sculptural forms. The result is ceramics, like this small pot, that are both familiar and entirely original. Huntington curator Lauren Cross described Lane as “a perfectionist, but … funky about his glazes.” Orange Tall Pot reflects how Lane struck a balance between technical precision and fearless experimentation.
Lane also believed that creativity should be shared. Throughout his career, he gave pottery demonstrations and presentations at galleries and community events near his studio in El Sereno, a neighborhood in Los Angeles’ Eastside, encouraging other community members to explore the possibilities of clay. Some of his most unusual ceramic pieces remained in his studio because he considered them imperfect, but visitors who admired them often left with them as gifts from the artist. After losing his right index finger in a car accident, Lane shifted from ceramics to wood assemblage and joined a community of Black artists associated with Los Angeles’ Brockman Gallery, a space dedicated to showcasing Black artists. There, they exchanged ideas, encouraged one another’s creative growth, and continued pushing artistic traditions in new directions.
Build on an Idea
David Kordansky Gallery. Doyle Lane: Weed Pots, webpage, 2023. https://www.davidkordanskygallery.com/exhibitions/doyle-lane4.
Doyle Lane. “Orange Tall Pot”, n.d. web page. https://www.huntington.org/collections/mus-64321
Lauren Cross. Doyle Lane: Master of Clay. The Huntington, 2026.
PBS SoCal. “The Brockman Gallery and the Village,” webpage, 2014. https://www.pbssocal.org/shows/departures/the-brockman-gallery-and-the-village.
The Huntington. “First Major Museum Retrospective Explores the Legacy of Pioneering Ceramic Artist Doyle Lane,” webpage, March 24, 2026. https://www.huntington.org/watch-read-listen/news/first-major-museum-retrospective-explores-legacy-pioneering-ceramic-artist.
The following works showcase how other artists have adapted techniques from traditional art forms and subjects, bringing new ideas to life.
Mary Lee Bendolph, Diner, 2004. Corduroy, 71 × 73 in. The Huntington Library, Art Museum, and Botanical Gardens. © Mary Lee Bendolph.
Mary Lee Bendolph, the artist who created this quilt, is one of several famed women quilters from Gee’s Bend, a remote area in Alabama, who transformed quilts from mundane household objects into works of art that are now exhibited around the world.
Their community traces its roots to formerly enslaved families who built a close-knit community on land that had once been plantations. The quilting tradition originated in the 19th century to stay warm during the winter. Besides serving a practical need, quilting also served as a creative outlet. Rather than strictly following quilting patterns, each Gee’s Bend artist developed their own bold and innovative style, experimenting with color, shape, and composition. In Diner, Bendolph used corduroy scraps, which can be difficult to quilt because of their texture, alongside muted grays, browns, and blacks, which contrast with bright pink shapes, creating a dynamic and expressive composition.
During the civil rights movement in the 1960s, the Freedom Quilting Bee was established in Gee’s Bend to help local women earn a living by selling their quilts. From then on, the quilters’ vibrant works began to earn recognition outside Alabama. In 2002, quilts from Gee’s Bend were exhibited at the Museum of Fine Arts, Houston, and their popularity grew. Today, they are recognized as significant works of art. Quilting has remained an important family tradition in Gee’s Bend, with creativity, techniques, and stories passed on through generations.
Gee’s Bend quilters have likened their quilting process to architecture, where different pieces of fabric are placed on top of each other, like how you might describe a building’s construction. Known for using materials from used clothing to create abstract designs, Bendolph has expressed that her style is inspired by traditional quilting and what she observes in her everyday life, such as houses, barns, and fences.
The quilters in Bendolph’s community broke the mold by transforming their creations from everyday household objects into powerful artistic objects. By reimagining what a quilt could be, Bendolph and the other Gee’s Bend quilters continue to reinvigorate an old craft, turning everyday objects into works of art.
Community Quilt
Paul Arnett, Joanne Cubbs, Eugene W. Metcalf Jr., editors. Gee’s Bend: The Architecture of the Quilt. Tinwood Books, 2006.
Souls Grown Deep, “Gee’s Bend Quiltmakers,’ n.d., web page. https://www.soulsgrowndeep.org/gees-bend-quiltmakers.
The Huntington, “Diner,” n.d. web page. https://www.huntington.org/collections/mus-59693
The Huntington, “Gee’s Bend: Shared Legacy,” n.d., web page. https://www.huntington.org/exhibitions/gees-bend-shared-legacy.
The Huntington, “In Conversation with Gee’s Bend Quiltmaker Louisiana Bendolph,” video, June 6, 2023. https://www.huntington.org/watch-read-listen/videos-and-recorded-programs/conversation-gees-bend-quiltmaker-louisiana-bendolph.
Agnes Pelton, Passion Flower, ca. 1945. Oil on canvas, 24 × 16 in. The Huntington Library, Art Museum, and Botanical Gardens.
Although Agnes Pelton took inspiration from nature, she chose not to represent it as it would look in botanical illustrations. Instead, she took a different approach to bring out the flower’s “spiritual side.”
Rather than growing in a recognizable landscape, Pelton’s ethereal passionflower floats in an undefined space filled with color, light, and shadow. The flower’s hypnotic center is bordered by alternating pink and green petals surrounded by tendrils and leaves that appear to hover.
Pelton used a technique known as glazing to achieve the painting’s otherworldly quality. This time-consuming method involves applying multiple thin, transparent layers of paint repeatedly to create subtle color variations.
While Pelton did create some realistic landscape works, she believed that realism and abstraction could work together to create a unique artistic style. The natural landscape served as inspiration for abstract works that explored spiritual connections.
As an adult, she moved west, traveling through New Mexico and settling in Cathedral City in Southern California’s Coachella Valley at age 50. She became an influential member of the Transcendental Painting Group, an artist collective founded in Santa Fe, New Mexico, whose members believed that art could bridge the physical and spiritual worlds. Taking inspiration from mysticism and spirituality, Pelton, along with other members of the group, challenged artistic traditions by representing more than it was possible to see. Instead, they created landscapes and otherworldly scenes that are both emotional and contemplative. In doing so, they helped expand the possibilities of what a modern landscape could look like.
Emotion through Color and Sound
James Glisson. “Floriform,” Huntington Frontiers, October 1, 2017. https://www.huntington.org/watch-read-listen/frontiers/floriform.
Andrew Goldstein, “Who Was the Mystical Painter Agnes Pelton? Curator Barbara Haskell on the Otherworldly Story of a Brooklyn Artist Who South Enlightenment in the Desert,” Artnet, April 3, 2020. https://news.artnet.com/the-big-interview/agnes-pelton-haskell-interview-1822842.
Palm Springs Art Museum. “Agnes Pelton: Desert Transcendentalist,” n.d., web page. https://www.psmuseum.org/webapp/list/pelton-desert.
The Huntington, “Passion Flower,” n.d., web page. https://www.huntington.org/collections/mus-56575
The University of New Mexico Art Museum. “Transcendental Painting Group, 1938–1942,” n.d., web page. https://artmuseum.unm.edu/raymond-jonson-web-portal/tpg.
Whitney Museum of American Art. “Ask a Curator—Agnes Pelton: Desert Transcendentalist,” video, October 21, 2020. https://www.youtube.com/watch?v=uM9MziL-6t8.
1.VA:Cr1.2 Use observation and investigation in preparation for making a work of art.
1.VA:Re8 Interpret art by categorizing subject matter and identifying the mood and characteristics of form.
2.VA:Cr1.1 Brainstorm to generate multiple approaches to an art or design problem.
2.VA:Cr1.2 Make art or design with various art materials and tools to explore personal interests, questions, and curiosity.
2.VA:Cn10 Create works of art about events in home, school, or community life.
3.VA:Cr1.1 Elaborate on an imaginative idea.
4.VA:Cr1.1 Brainstorm individual and collaborative approaches to a creative art or design problem.
4.VA:Cr2.1 Explore and invent art-making techniques and approaches.
4.VA:Cn11 Through observation, infer information about time, place, and culture in which a work of art was created.
5.VA:Cr1.1 Combine ideas to generate an innovative idea for artmaking.
5.VA:Cr2.1 Experiment and develop skills in multiple art-making techniques and approaches through practice.
6.VA:Cr1.1 Combine concepts collaboratively to generate innovative ideas for creating art.
6.VA:Cr1.2 Formulate an artistic investigation of personally relevant content for creating art.
6.VA:Cr2.1 Demonstrate openness in trying new ideas, materials, methods, and approaches in making works of art and design.
8.VA:Cr2.1 Demonstrate willingness to experiment, innovate, and take risks to pursue ideas, forms, and meanings that emerge in the process of artmaking or designing.
1.MU:Cr2 a With limited guidance, demonstrate and discuss personal reasons for selecting musical ideas that represent expressive intent.
6.MU:Re7.1 Select music to listen to and explain the connections to specific interests or experiences for a specific purpose.
5.MU:Cn11 Explain and demonstrate connections between music and societal, cultural, and historical contexts
Nov.MU:H.Re7.1 Identify reasons for selecting music based on characteristics found in the music and connections to interest, purpose, or personal experience.
Writing – Research to Build and Present Knowledge
Kristin Brisbois McNutt, Ph.D., is the educator programs specialist at The Huntington.
Sarah Thomas is the senior manager of school programs and partnerships at The Huntington.
Dora Dalton is a freelance writer and editor.
Lauren Cross is Gail-Oxford Associate Curator of American Decorative Arts at The Huntington.
Victoria Gonzalez is digital learning specialist at The Huntington.
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