Brangwyn was a famous and prolific mural painter, so Cornwell managed to become an assistant in order to learn the trade. He helped Brangwyn on one or more of the British Empire series of panels intended for the House of Lords. They were ultimately rejected, and can be found in Swansea, Wales.
Below are examples of Brangwyn's and Cornwell's works. Click on the images to enlarge.
Painted at the time Brangwyn broke away from traditional, illustration-style painting. Note his use of outlining, bright colors and free brushwork. From this point on, his paintings and murals featured a strong decorative component, one especially well suited for large murals.
Outlining became something of a Brangwyn trademark, and was used by many mural painters in the 1920s, especially. In this painting most outlines in the foreground are dark, but those for background work are lighter.
One of Brangwyn's earliest murals, painted when living in Paris. Enlarge to better view outline colors. Some are very dark, some are brown, others are blue-gray. I've always wondered if he had a system for selecting outline colors, but so far have only decided that darker, heavier lines were for dark subjects or where emphasis was desired. Let us know if you have cracked his code.
Mural panel painted a few years later, also showing Brangwyn's use of a few strong reds -- a favorite touch.
No strong reds here. This was an early attempt in the House of Lords project, but was rejected due to its subject matter. Plenty of outlining for foreground subjects, hardly any for the background tank.
This was the kind of panel that Cornwell could have worked on. Outlines on the people and other foreground items are painted light blue, though some background outlining is darker.
One of Corwell's LAPL murals. He used light blue for many outlines, but other colors where he decided that a different emphasis was needed to clarity the subjects and their main colors.
Again, a good deal of light blue outlining plus some darker blue outlines. Like Brangwyn, Cornwell includes plenty of details to fill the space. Also like Brangwyn, reds and oranges are key parts of the color scheme.
A photo of a LAPL mural I took nearly 10 years ago using a camera not quite up to the job. Here we find nearly exclusive use of blue outlining. Cornwell's style is less dramatic than Brangwyn's, though these murals do retain a feel for the master's work.
This rather surprised me when I found it on the Internet because I thought that Cornwell had abandoned mural-painting by this late in his career. Here the Brangwyn influence is gone, replaced by Cornwell's 1950s illustration style.