Goodwin possessed an extraordinary gift for modelling landscape with the sponge in single colours and lower and lower tones, using pen to delineate form during and at the end of the process, never at the start. After Turner, no other watercolourist laid down giant zones of abstract colour with such sureness. It looks to be effortless; but when Lord Clark – Sir Kenneth Clark – went sketching with him in 1913 and 1914 and sought to imitate his methods, which Clark usefully describes, he achieved only "mechanical" results.' Godfrey Barker, 'Why Albert Goodwin Matters', Albert Goodwin RWS 1845-1932, London: Chris Beetles Ltd, 2007, page 8
Framed