Exhibiting alongside old stalwarts William Conor, John Hunter, Morris Harding and Edward Mansfield, as well as the younger generation such as Colin Middleton, Kathleen Bridle and the sculptor Betty Clements.
The group had evolved from the short-lived Ulster Society of Painters and included artists such as John Luke, Colin Middleton, Mercy Hunter, George MacCann and Crawford Mitchell.
"[10]The Academy elected Toogood an associate in 1935,[2] inaugurated with Kathleen Bridle, Colin Middleton, Helen Brett, Patrick Marrinan, Maurice Wilks and William St. John Glenn.
[11] In the same year Toogood's 1933 oil, Dan Nancy's, Cushendun was displayed in an exhibition at the Mansion House in Dublin by the Haverty Trust, before becoming one of ten works donated to the Belfast Museum and Art Gallery.
[14] The critics were still talking of the 1934 exhibition of four years earlier, when the participants were re-united for a show in aid of the Youth Hostel Association, where the reviewer in the Northern Whig remarked,"Not since Colin Middleton, Edward Mansfield, George MacCann, Romeo Toogood, and other young artists held their first exhibition in Belfast has there been so stimulating a show as that which Lady Cushendun opened yesterday in John Magee's Gallery, Donegall Square West.
It was donated to the Belfast Museum and Art Gallery in addition to fourteen works by John Luke, Mainie Jellett, Seán Keating, Charles Lamb, Nano Reid and others.
Writing in a 1944 essay entitled Paint in Ulster the critic John Hewitt described Toogood's work:"His colour is altogether quieter than Luke's; his shapes not so sharply formalised, his vision closer to normal representation.
He prefers a high skyline or none at all, and a broad landscape in which the brown ploughed fields, the dark hedges and the meadows, the slate roofs and white-washed gables make a pleasing pattern of unemphatic but subtly related colour, organised mainly by manipulation of diagonal tensions.
"[20]Toogood contributed two paintings in the October 1945 Ulster Academy exhibition, including a watercolour and an oil, which the Northern Whig's reviewer lists amongst the "notable" works.
[5] In 1948 Toogood also joined the teaching staff at Friends School Lisburn where he remained for a year before his appointment as the master of painting and drawing at Belfast College of Art.
The architect WH Hamlyn commissioned the works on behalf of the Ulster Transport Authority[26] and amongst the students who produced the paintings were Basil Blackshaw, RG Linton, AH Peel, Augustus Little, WF Kennedy, H Magowan and RJ MacKey.
[29] Jamison suggested that Toogood's own practice was negatively effected by his concentration on teaching, that he referred to as "an extraordinary compound of allusion and metaphor patiently contrived for the individual.
[32] Toogood returned to the Magee Gallery in July 1964 with contributions to the Summer Exhibition, alongside Frank McKelvey, Dennis Osborne, Colin Middleton and William Conor.
[2] In 1965 Toogood joined twelve Ulster artists including Alice Berger-Hammerschlag, Olive Henry, and Mercy Hunter in a diverse exhibition of landscape paintings at the Arts Council Of Northern Ireland Gallery.
[36] Toogood's legacy was summarised by the Director of the Arts Council for Northern Ireland Kenneth Jamison in an essay entitled Painting and Sculpture when he wrote:"...he adapted his attitude and seemed capable of projecting himself into every technical and aesthetic problem.
[10] In 2011 the Department of Finance and Personnel reported that a Toogood watercolour of Shaw's Bridge and the River Lagan, purchased in 1994 and valued at £1250 had gone missing from the civil service collection at Dundonald House in 2002.