[12] Goodell favored full length figure paintings, sometimes in a plein aire setting (Pastoral, Jimmie Reading), in addition to still lifes, landscapes, and subjects with an element of humor or social commentary (Isolationist, Liberty and the Pursuit of Happiness).

[16] Garber's technique of backlighting figures is found in several of Goodell's works in which subjects appear bathed in a halo of light (Pastoral, Willow in Sunlight).

There is evidence that Goodell painted in the New Hope area (Bucks Farm, On the Bridge), but his studio remained in Philadelphia, and the influence of impressionism both in terms of subject matter and technique was less direct than on his older siblings.

Watercolors of urban and night scenes are reminiscent of American Realism, but while this movement expressed the alienation of modern life, Goodell's portrayals were never desolate (Sun Patterns, Steaming Off).

[18] He was promoted to Chief Specialist in visual aids in charge of 18 man art department of the Visual Aids Section of the Naval Training Station at Newport, R.I. Away from his studio during this period, he produced a number of freely rendered watercolors and pastels of life on base, in addition to harbor scenes, but fewer large oil paintings (Musician 1st Class, The Piper).

In California, Goodell showed in Los Angeles, Laguna Beach, and San Diego but, with fewer exhibition opportunities regionally, his easel painting never regained its former momentum.

He dedicated his later years to teaching art and to creative projects in the local community, including dioramas for the Natural History Museum in San Diego in 1974, and an amphitheater for Country Day School in La Jolla, California.

Goodell was an accomplished carpenter, furniture maker and metalworker in both iron and pewter, skills in tune with the Quaker tradition of pursuing the practical arts.

In 1932 Goodell embarked on renovating 5269 Germantown Avenue,[21] undertaking all rebuilding, carpentry, cabinetry and furnishing[22] in return for studio and living space.