Where to See Dean Cornwell

Dean Cornwell's paintings and illustrations can be viewed in a number of public locations. Several murals are accessible to the public. In New York City, Cornwell's work is featured at the General Electric Building (formerly the RCA Building) in Rockefeller Center. These murals, commissioned in the early 1930s, depict themes of communication and progress. The Warwick Hotel, also in New York, contains Cornwell murals. Outside of New York, the Los Angeles Public Library contains a series of thirteen murals painted by Cornwell between 1930 and 1932. These illustrate the history of California. The library provides public access to view these works. Cornwell also completed murals for the Eastern Airlines Building in Rockefeller Center and for Graybar, also in New York. While many of Cornwell's illustrations were created for magazines and books, these public works offer opportunities to see his large-scale compositions and narrative skill. Access to specific works may vary, so checking opening times is recommended.

When considering Dean Cornwell's prints, it is useful to understand the distinction between original prints and reproductions. An original print is conceived as a print, executed solely as a print, and is often part of a numbered edition, signed by the artist. Each print in the edition is an original, printed from a plate, stone, screen, block, or other matrix created for that purpose. Reproductions, however, are copies of artworks initially created in another medium, such as painting or watercolour, and are typically produced via photochemical means. Numbering and signing a reproduction does not transform it into an original print. The value of a print is affected by factors such as the artist's reputation, the image's popularity, and the quality of materials and printing. Limited editions, where the number of prints is restricted, often command higher prices. The number of impressions may be limited due to the plate wearing out or to increase the print's value. Some artists create artist's proofs, typically ten percent of the edition, marked with AP after the number.

Dean Cornwell (1892-1960) was an American illustrator and muralist. Although less known today than some of his contemporaries, his work is important for several reasons. Cornwell's illustrations appeared in popular magazines and advertisements, shaping the visual culture of his time. His style, characterised by dramatic compositions and attention to detail, influenced a generation of illustrators. His work provides insight into the aesthetics and values of early to mid-20th century America. During the Depression era, artists such as Thomas Hart Benton, Grant Wood, and John Steuart Curry depicted scenes of everyday Americana. Their work, often referred to as Regionalism, aimed to capture the American scene and appeal to American values. Cornwell, while not strictly a Regionalist, shared a similar interest in depicting American subjects and themes. These images provided a sense of reassurance and cultural identity during a time of national crisis. His murals, often depicting historical or allegorical subjects, were created for public spaces. They reflect an interest in visually accessible art, a characteristic shared by Regionalist painters.

Dean Cornwell studied under Harvey Dunn at the Art Students League. He also spent three years studying under Frank Brangwyn in England.

Dean Cornwell was an American illustrator known for his large-scale historical murals and magazine illustrations. He is associated with the Brandywine School artistic style, although he moved away from some of its precepts. Cornwell's early work was in black and white, often using pen and ink wash techniques. He later moved to oils, which allowed for greater colour and detail in his illustrations. He prepared his illustrations with careful research and detailed sketches. He often used live models in costume to achieve accuracy. Some of his preliminary studies survive, and show the development of his compositions. Cornwell developed a personal painting method that involved layering colours, building up textures, and glazing. This approach allowed him to create a sense of depth and luminosity in his work. He sometimes combined oil paint with tempera or other media to achieve specific effects. Cornwell also experimented with different surfaces, including canvas, board, and paper. His murals often involved working on a very large scale, requiring careful planning and execution.

It is difficult to say precisely who Dean Cornwell influenced. However, the American art tradition shows some patterns of influence. Early American portraitists like John Singleton Copley and Gilbert Stuart emulated British artists. Benjamin West, a contemporary, painted American historical scenes, taking cues from French historical painters such as Jacques-Louis David and Jean-Auguste-Dominique Ingres. Later, Fuller and Morse showed influences from the Munich school or the British. These influences are also present in the work of Thomas Eakins, Frank Duveneck, and William Merritt Chase. Winslow Homer, who came from illustration, was influenced by Eakins, while George Bellows is considered a successor of Chase. Albert Pinkham Ryder's work incorporates Florentine, Pre-Raphaelite, and Blake-like elements. These artists collectively form an American tradition.

American painters often looked to Europe for inspiration. Early portraitists John Singleton Copley and Gilbert Stuart emulated their British contemporaries. Benjamin West painted American historical scenes in a style similar to French historical painters Jacques-Louis David and Jean-Auguste-Dominique Ingres; this influence may have been mediated through British artists working in that style. Later, Fuller and Morse showed influences from the Munich school, as well as from Britain. Thomas Eakins, Frank Duveneck, and William Merritt Chase also reflect these influences. Winslow Homer, who began as an illustrator, was influenced by Eakins. George Bellows is considered a descendent of Chase. Albert Pinkham Ryder's work shows a mixture of Florentine, Pre-Raphaelite, and Blake-like elements. These artists, despite their varied influences, form an American tradition.

It is difficult to name Dean Cornwell's single most famous work. He was a prolific and well-regarded illustrator, muralist, and teacher, active in the first half of the 20th century. Cornwell created a large body of work, and his pieces vary widely in subject matter and purpose. He is perhaps best known for his murals in public buildings, such as the Los Angeles Public Library, the Eastern Airlines Building in New York City, and the Detroit People Mover stations. These murals often depict historical or allegorical scenes, executed in a grand, academic style. Cornwell also produced illustrations for books and magazines, advertisements, and posters. His work helped to define American illustration during the Golden Age. He was an influence on later artists in the field.