[2] Returning from the continent, he moved to Stockholm, to Katarinavägen, next door to the studio of main competitor and critic of his work, Isaac Grünewald.

[9] Törneman traveled intermittently in relation to his art (e.g., in 1912, to Venice),[7][10] and toward the end of his life, he largely abandoned his early dark palette, and instead worked almost entirely in the brighter colors from his Paris days.

[1] In addition to his many paintings on canvas, at various times in his career Törneman produced illustrations for commercial projects, as well as painting frescos and large scale murals in public spaces,[1][2] such as the Royal Institute of Technology (KTH), Stockholm City Hall, other Stockholm buildings such as Norra Latin, Östermalms läroverk, Östra Real, and the second chamber of the Parliament House.

[1][11] Törneman began the ceiling mural De elektriska strömmarna (The electric currents), in 1918 in a lecture hall of the KTH.

[12] This very ambitions painting project was a subject of much discussion, and when completed was unanimously praised by critics, but disappeared from view until its rediscovery.

[12] After nearly 40 years, and its being near forgotten, De elektriska was found during 1993 repairs to its original building, intact, though a ventilation duct had been installed through it.

[12] The painting, still considered an important part of Swedish cultural heritage, was restored and moved—a thin layer of it was removed with great care and affixed to a new support in its new location—work that took a year and cost five-times as much as commission for the original artwork; it re-opened to the public in its new location, in 1994.[where?