“Mervyn Goode records the countryside in minute detail…A traditional painter, with an appealing lyricism, Goode takes one on an extended nature walk through sheep-filled meadows, down by village ponds, up cart-tracks, into snowy valleys. He is able to create the meditative silence of a still winter’s day when ivy-covered Elm trees and country fields disappear into the thin haze of evening, comparable to a Wordsworth poem.”
The Field Magazine
“Scenes painted with meticulous respect and sympathy by an artist who’s in love with trees, nature, creation and peace itself.”
The Sunday Telegraph
“Mervyn Goode’s landscapes highlight the changing moods of each season. Each of his works catches not only the colour, but the spirit and feel of its subject.”
Arts Review
“He sees the landscape in general, and trees in particular, as Nature’s living sculpture, slowly fashioned by time and the elements, and more suddenly transformed by light and the seasons. His joy in painting is to capture moments in time of the Evolution of this Sculpture.”
The Hampshire Chronicle
“Mervyn Goode is an internationally renowned painter much in demand because of his ability to capture our threatened countryside in oils. His work has been widely praised over the years, and reflects his enthusiasm as a naturalist and conservationist, drawing attention to the need to conserve dwindling woodland and hedgerows, and those ancient lanes, meadows and forgotten corners which form a recurrent theme in his landscapes.”
Sussex Life
“Expressive tree-portraits and sensitive studies of atmosphere and season.”
The Southern Evening Echo
“Mervyn Goode is without doubt one of the most respected English Landscape Painters, whose works follow a long and very English tradition of Landscape Painting.”
Antiques (Art Edition) April 1997
“Mervyn Goode has spent the last 25 years assiduously capturing with his brush the varied and detailed qualities that blend together to create the beauty we too easily take for granted in the British Countryside.”
Landscape Design
“He is an Artist who sees the landscape from an intimate viewpoint, rather than seeking out the obvious”.
Surrey Occasions Magazine
“He paints, often exuberantly, because he is wholly intoxicated with the beauty of the land about him and his love and knowledge of nature.”
Hampshire Magazine
“Mervyn Goode’s love affair with Devon – in particular the South Hams area around Slapton – goes back 30 years, and has been instrumental in shaping both his life and career.”
Devon Today
“He is a gentle, kindly, and courteous man, friendly and approachable, but happy in solitude … His beliefs he defends with the same steely integrity he brings to his work; he works with total freedom and choice, accepting no commissions or other constraints …. You can almost hear the suck and squelch of boots along the rutted track to the back of a field, and often it is only the russet glimpse of a rusting corrugated roof across the fields that belies the impression that this is a scene from the early Nineteenth Century.”
Dennis Stevens, Hampshire Magazine
“His landscapes combine a quality of introspection with wide bucolic vistas. His work is so evocative, so utterly of the seasons…reflections of sky in puddles and still rivers, leafless trees against an evening sky, a snow-filled valley. You can almost smell the air, nearly feel the breeze. And yet there is a depth and a calmness-it is almost like holding your breath.
Hampshire Life
“Close to his home and near to his heart, the tranquil Hampshire scenes evoke most eloquently the characteristic nuances of our countryside unspoilt. For example, he captures the curious stillness of a windless winter afternoon or the gentle promise of a daffodil spring with delicate sensitivity and a certain sense of awe. This wonder endows each landscape with a freshness, as one discovers with the artist the extraordinary beauty that exists around us. Trees are especially important. The filigree of their branches, receding to a hazy horizon, adds to the evanescent quality of his warm paintings. Almost invariably, one is invited to enter this peaceful, though not idealised world, by rounding the next bend in a woodland track or gliding beneath the arches of an ancient bridge.”
The Field Magazine