The passing of my mother, Marie Goodenough, at the age of 90, marks the end of an era for a remarkable artist whose talent spanned painting, sculpture, and a variety of materials. While she created numerous paintings throughout her life, Marie primarily identified herself as a sculptor. Her works often reflected her unique sense of humor and original perspective. A notable piece, titled "Boris Godunov" (which you can view at https://artuk.org/discover/artworks/boris-godunov-15511605-251487), was a clever play on words, while another sculpture called "Newspaperman," crafted from copies of the Scotsman newspaper, served as an homage to art critic Edward Gage and was displayed at the Royal Glasgow Institute.
Marie was born in York as the only child of Selina (née Jenkins) and George Goodenough, who worked as a locomotive guard. Reflecting on her childhood, she often described it as somewhat solitary, with many hours spent reading on the stairs—an experience that helped cultivate her vivid imagination and deep appreciation for literature. Through this solitude, she learned the value of hard work and discipline, always remaining sociable and deeply interested in the lives of others. Her strong commitment to social justice, especially regarding the welfare of children, was a defining aspect of her character.
Her educational journey began at Mill Mount Grammar School, where her passion for drawing blossomed. This interest led her to Edinburgh College of Art, where she truly discovered her artistic calling. During her studies, she garnered several awards, peaking with a prestigious postgraduate travel scholarship in 1958. This opportunity allowed her to explore Greece for an entire year alongside her new husband, Bert Wraith (more about him can be found at https://www.theguardian.com/science/2025/aug/07/bert-wraith-obituary). The couple first met while both worked as students at the Post Office in York during the Christmas season. Upon returning to the UK, they settled in Newcastle upon Tyne, where Bert, a metallurgist, established a research unit at the local university. After a brief teaching stint at Bishop Auckland College and Newcastle Polytechnic in the late 1950s, Marie made the decision to stay at home and care for their children.
In the late 1960s, she explored fostering children and, in 1972, relocated to a more pastoral environment in Warkworth, Northumberland (you can learn more about the area at https://www.theguardian.com/uk-news/northumberland). Here, she dedicated herself to diverse artistic projects inspired by nature, horses, and even the works of Shakespeare. Her engagement with the community was evident through various voluntary initiatives, including a nativity performance featuring twelve life-size puppets and a whimsical sculpture depicting sheep waiting at a village bus stop for their ride.
Marie actively showcased her artwork in multiple venues, including the esteemed Royal Scottish Academy and the John Whibley Gallery in London. Her efforts were recognized with numerous accolades, such as the RSA Ottilie Helen Wallace prize. She became a member of several artistic societies, like the Scottish Society of Women Artists and the Society of Botanical Artists. In 1989, she had the honor of exhibiting her work in Voerde, West Germany, and celebrated the turn of the millennium with creative sculpture and book projects that involved local schoolchildren.
Beyond her artistic talents, Marie was an exceptional gardener and a skilled cook. Her interests extended to music, history, and cinema, reflecting her broad curiosity about the world. In 2007, she and Bert moved to Exeter to be closer to my sister, Louise. Marie received a diagnosis of Alzheimer’s disease in 2013, and Bert passed away in 2025 due to Parkinson’s disease. Their bond was unwavering, as they chose to remain together in their home until the very end.
Marie leaves behind her loving daughters, Louise and myself, along with her cherished grandchildren: Kristen, Logan, Nathaniel, and Sadie.
