During WWII, Bishop Bell commissioned Bloomsbury group artists, Duncan Grant, Vanessa Bell and Quentin Bell to cover much of the church in extensive murals. Duncan Grant's The Victory of Calvary shows Christ in victory on the Cross. Jesus is not obviously suffering; here he is the victor, standing on a platform rather than hanging down. Grant originally depicted Christ unclothed, a decision which drew criticism from the Church, so he repainted a cloth around his waist.

The paintings integrate theologically with existing features, and express the fullness of the Maundy Thursday, Good Friday, Easter and Pentecost story. The sheer size of the work assists in seeing and understanding the size of the work of Christ, with darker lower sections focusing attention on the ‘darkness’ endured in the Passion, and the brightness of the upper sections lifting the eyes to resurrection, light, life, empowering and hope.

“ … There is a sense of latency and loss in the painting; but it also establishes a feeling of hope, a sense that, against all hope, hope yet remains.

"It also speaks a quite personal word to me,  and many like me in today’s world, for whom the old ways of speaking about God have lost their power and immediacy.  Still suggests an absence that is strangely like a presence.”

Graham Sutherland's Crucifixion, unveiled in 1963, was the third he had created for a church and the first and only commission that he received from a Roman Catholic Church, despite being a Catholic himself. It taps another theme found within the revival of sacred art, a focus on the horror of crucifixion. For Sutherland this derives from reflection on the terror inherent in both Grünewald’s Isenheim altarpiece and the reality of the Holocaust.

In 1970 the church of St Anselm's Kennington planned to redecorate its interior and invited Norman Adams to paint murals for the two side walls. After some deliberation between Adams and the Vicar at the time, Pilgrim's Progress was settled on as a theme and Adams undertook an abstract series working from dark to light in a modern yet expressionist manner.

Painted in 1961 for the Church of the same name, Mary is depicted as the strong Mother of Mankind. The child, sleeping peacefully on her arm, represents humanity undisturbed by the chaos of the world, shown in the blazing explosion of the background.