While his passing is a real loss to American art, the spirit of his work will always live.
Adolph A Weinman, German-born American sculptor
Our greatest living painter has gone.
Francis Wilson, American actor
We think of him not merely as the great artist of world renown, but more especially as the delightful companion who charmed everyone he met.
James Ellsworth, marketing executive
Gari Melchers has not throughout his long career remained faithful to a style that, once fully worked out, might by many an artist be retained thenceforth as a matter of routine. As time went on, however, the artist, not content to remain identified with either the early clear picturesque realism or the subsequent absorption in decorative problems, adopted various techniques suiting his mood or the subject. He could do a simple, almost austere ‘Native of Virginia’ and again he could ruffle his paint into the humorous bravura called for by a modern ‘Tonsorial Parlor.’ The variety in what we may justly call his memorial exhibition, is surprising. Yet it is perfectly consistent, too. The brush that could linger so delightedly over details in the “theme” pictures could also move with authority through the mazes of a portrait or a colorful flower piece.
Edward Alden Jewell, The New York Times Art Critic
The death of American artist Gari Melchers on November 30, 1932, at his Virginia country retreat, Belmont, triggered a world-wide outpouring of sympathy. Gari’s wife, Corinne, was at home with her husband when he died and immediately telegrammed the sad news to her brother Leonard Mackall in Savannah, Georgia. It was Leonard who traveled to Belmont to be by Corinne’s side as she navigated the days and weeks that followed.
An exhausted Melchers had recently returned from New York City where he mounted a major retrospective exhibition of his work at the American Academy of Arts and Letters, of which he was a member. In late October, Corinne wrote to Leonard that “We are well and Gari is busy preparing for a very big exhibit of his things (all his biggest pictures) at the Academy – to open middle of Nov. and continue thro the whole winter.”
The exhibition featured more than fifty pieces of Melchers’ work and opened to glowing reviews. An article in the New York Herald Tribune ran with this headline — “Recognizing Fifty Years’ Achievement in Painting’ — and went on to say that the Academy hung “…an impressive exhibition of the work of Gari Melchers, a member of the Academy and one of the country’s most distinguished artists, telling the story of the artist’s long career from virtually its beginnings to the present day.”
Meanwhile, back at Belmont, news of the exhibition’s success reached Corinne via a letter from Leonard. He wrote that Royal Cortissoz, an American art critic and historian, shared with him that “Gari’s exhibition at the Academy is perfectly ripping.” I have seen Gari two or three times lately, going strong and being, as he always is, the sweetest man in the world.”
News of the artist’s death prompted the Academy to extend the now memorial exhibition’s run. A record-breaking 6,000 visitors attended the show. Here is a selection of the exhibition’s paintings.
The New York Times ran an extraordinary three-column obituary for Gari Melchers, featuring tributes from many of his colleagues, including artist Childe Hassam, sculptor Adolph Weinman, and architect Cass Gilbert.
It was his charm of personality which won him his distinctive place in the community. Natural kindliness, a sure instinct for finding out the best in other men, personal modesty and readiness to recognize the good work of others, even when it did not conform with his own artistic standards, made him the close and valued friend of all his fellow-craftsmen.
“Gari Melchers,” The New York Times, December 1, 1932, 20
Scores of telegrams, letters, and memorial flowers poured into Belmont from friends, relatives, fellow artists, and dignitaries. Always a lady, Mrs. Melchers answered or thanked every single person.
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