Rosemary Goodenough
A Drift of Trees, Norfolk/
Oil on Board /88 x 75cm /£7,500
Springing Tulips /Oil on Board /
109 x 109cm /£12,000
Gorgeous Autumn Trees, Norfolk/
Oil on Board /88 x 75cm /£7,500
Tumbling Spring Flowers 2022 Oil on panel 64 x 73cm / £3,700
A Copse in Summer, Norfolk /Oil on board / 88 x 75cm /£7,500
Bright Spring Rain/Oil on Board/
88 x 73cm /£7,500
Rowing the Night River/ Oil on Board /88 x 75cm /£7,500
Moonfleet /Oil on Panel /62 x 55cm /£2,700
Sea Fever/Oil on Board /88 x 75cm /£7,500
Two Floating Flowers /
Oil on Board /59.5 x 59.5cm /£2,800
Soft Rain on the Lake 2022/
Oil on panel/55 x 75cm/
£3,250
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Rosemary Goodenough is a painter and sculptor. She works in the contemporary impressionist tradition, painting with knives, cloths and her hands on panel or board. Her work is collected internationally and held in private collections in Geneva, New York, Tennessee, Boston, Cape Town, Paris, Glasgow, Edinburgh, Norfolk and Northamptonshire amongst other places. She lives in Norfolk with her husband Michael Waller-Bridge.
Exhibition history: 2022, Two Ways of Seeing, Gallery East, Suffolk 2014 - 2019 Rosemary Goodenough Brand at London Fashion Week Wolf and Badger Window display, Mayfair London 2013, Rosemary Goodenough Brand at the Saatchi Gallery, London SCOOP International Fashion Show 2012, BT ArtBox for ChildLine – ‘About A Child’ NSPCC HQ 2011, Wildwood Gallery, Suffolk The Wicken Vineyard, Suffolk 2010, Art at the Park, Suffolk Highwayman’s Gallery, Suffolk 2007, Dio Arts Launch - Auckland, New Zealand 2006, Eurostar Concourse London - 'Aphrodite's Battlewagon' an ArtCar for Vauxhall's Exhibit V in association with Magic FM and Visit London Galerie Landertinger Wagner, Salzburg, Austria The Arts Club, Dover Street, London, Berlin, Milan and Barcelona for Visit London 2005, Ryder Street Gallery, London Home House, London Spectrum Fine Art, London 2003, A & D Gallery London Biennale Internazionale Dell'Arte Contemporanea, Florence 2001, Dauntons, London International Notting Hill Arts Exhibition London ING Barings London 2000, La Brocca, London Cafe Royal, London, The City Gallery London, ING Barings London, Merchant Company Hall, Edinburgh Millennium Year Resident Artist for the Green Gallery, Stirlingshire, Scotland 1999, Pollyanna Gallery, Barnsley UK Royal Scottish Academy, Edinburgh ING Barings, London 1998, Ozten Zeki Gallery, Walton Street London Savoy Hotel London Lux Centre, Hoxton Square London. In 2015 Rosemary was invited by Rolls Royce to join their Ambassador Programme 2004 Guest Art Editor, Archidom Magazine, Moscow. For sales enquires please contact [email protected] 
A Lake in the Mountains/
Oil on Panel /64 x 73cm /£3,700
The Ocean has its Mysteries / Oil On Panel / 56 x 51.5 cm / £2,250
Blossoms on the Breeze/
Oil on Panel /54.5 x 46cm / £1,975
A Gorgeous Flower /
Oil on Board / 59.5 x 59.5cm /£2,800
Blow The Wind Softy/ 2022 Oil on Board 59.5 x 59.5cm/ £2,800
Rosemary in her studio. Photography Michael Waller-Bridge
‘Every Mark is a Decision’ As an Artist I am viscerally aware of the straight-line connection between me and the Artists who made their Marks with such verve on the walls of the Chauvet Caves approximately 35,000 years ago. We don't know their names, gender or motivations but the drive and passion to make Marks is a primitive and inescapable human need and this straight-line connection between Artists across millennia will never be broken. Being part of a link in this past and future chain is fundamental to my life as an Artist.
My father was passionately interested in paintings and I will always be grateful to him for teaching me how to look at a painting in great detail and it has informed how I work as there is a great deal more to painting than the making of marks. Looking is incredibly important. People always ask how long it takes to make a painting and the first answer is ‘a lifetime’ and the next answer varies from painting to painting. As an example of this process of looking, there was a painting I was pleased with but knew something was wrong. I put it on a spare easel in my studio and kept glancing at it and 8 months later I realised that I didn’t need to add to it: it needed to have something removed. I grabbed a palette knife, removed the "offending" marks and the painting was finished! Proof to me at least that painting involves a lot of looking, not always doing. I’m particularly interested in the Japanese concept of ‘Ma’ which I understand is to do with absence of activity so for example in music it is the silence between the sounds, in painting it’s the unfilled space that leaves the viewer able to use their own imagination. To me the negative space is as important as the positive space and in my paintings and drawings, every mark is a decision and every decision to not make a mark is absolutely critical to the final piece. Rosemary Goodenough Norfolk May 2022 |