Dear Editor,
I find the tone of the recent letter by Jorge Bowenforbes (aka George Bowen) ` My watercolour work is known the world over’ in the August 2nd Sunday Stabroek, most appalling. First of all I would like to say that I sincerely hope the Scandinavian name change is based on DNA research. If it was not to address matters of historical concern, his attack on my personal integrity would have been completely ignored. This is the second time I have had to take such an approach to an open letter of his and sincerely hope it is the last because I have no intention of being addressed in such a manner again without responding and it would not be exchanging letters in the Sunday Stabroek.
1. The passing of artists prominent or not is a matter of concern not only to me but also to Guyana. When informed of their passing I have written obituaries out of respect regardless as to whether they were colleagues, friends or even hostile to me. To date I have written ten obituaries.
2. George Bowen (aka Jorge Bowen-Forbes), as I knew him before he left Guyana, indeed matured as a fine watercolor painter while in the US winning recognition unknown to us at the time, something which would certainly be noted in his obituary.
3. I am not prepared to give any kind of listing of my awards or any other aspects of my existence in a letter as he did. This will be the concern of my children and others wishing to do in an appropriate manner after my demise.
4. He is not the only Guyanese artist listed in MAQUIS Who’s Who. I have been so for decades.
5. Ron Savory had a one man show in 1958 curated by E. R. Burrowes at the former Royal Agricultural and Commercial Society building (RACS). So G.B (J.B-F) is not the first.
5. Emerson Samuels, Ron Savory, Mike Leila and myself held two group shows to show support for each other. For each of us the presentation of concepts was important. It was for example where Savory showed the first of his forestscapes. Sale of work while welcomed was secondary to our intentions. The first in 1960 was held in the Furnishings Department of Booker Stores and was supported by Anthony Tasker the Head of Public Relations and friend of the WPAC. The second was in 1962 at the RACS because of the damage to Bookers during the riots. Locke was not in any of those shows.
6. I was a member of the WPAC from its inception by Burrowes in 1948 to its end in 1963 when I left to study in the UK. Returning in 1968, my second teaching appointment in 1970 was at Queen’s College where Ron Savory held evening classes trying to re-establish the WPAC but no interest was forthcoming.
7. After G.B (aka J.B-F) joined the WPAC in the late 1950’s at Queen’s College Art Room, his attendance at Saturday classes was poor. Perhaps he felt there was nothing there to be learnt.
8. He had misdirected Issues to me in a peevish manner as to why he has been ‘neglected’ after holding more than ten shows in Guyana. It is indeed regrettable and it is not in my place to offer opinions. Such issues really should be directed to art collectors, appropriate Ministries of the Government and any other relevant institution.
9. I have no idea if G.B (aka J.B-F) has tried to make his presence known by offering his services to relevant institutions – The Burrowes School of Art, UG, The Cyril Potter Teachers Training College, The Adult Education Classes, Castellani House, Moray House. Such service would have removed any feeling of being neglected.
10. The above statements are supported by documentation in case G.B (aka J.B-F) would like to visit see them. Any memory his or mine can be questioned.
Yours faithfully,
Stanley Greaves
