By Alim Hosein
It might be a trite expression, but indeed, the passing of Philip Moore – the Immanuel Kweku Moorji – marks the end of an era in Guyanese art. Chronologically, Moore’s artistic career reached far back into the early part of the last century and coincided with that of many artists who have passed on – E R Burrowes, Denis Williams, Vivian Antrobus, Marjorie Broodhagen and so many others, although he came from different roots from them and pursued a different kind of art.
The era that has ended was one that he himself created, occupied and embodied, so different was his work from that of other Guyanese artists, and so completely integrated it was with every aspect of his being. Although he was designated by Denis Williams as the father of the “village movement” in Guyanese art,