Life, work and spirituality of Mother Clelia Merloni

Paintings

Like a grain of wheat

Title: “Like a grain of wheat…”
Technique: Oil painting on canvas
Dimension: cm 150×110 cm  (59×43 inches)
Year: 2020
Author: Giuseppe Antonio Lomuscio

 

Description of the Painting

The inspiration for this painting grew from the wish to celebrate the memory of Blessed Clelia Merloni with a new image depicting the moment of her holy death.

This piece completes a series of works intended to draw attention to the witness of the charism of the Foundress which has always enlivened and sustained the apostolic works of the Congregation. It also depicts her embrace of the Charism as a manifestation of the gift of the holiness of God.

In the painting, Mother Clelia lies motionless on her bed in her room. Her closed eyes and her weakened body instantly invite reflection on the mystery of life and its brevity. However, Mother Clelia does not appear to have died. On her face is that serene expression of someone who has just fallen asleep in the absolute certainty of awakening to a new life, that is, the life promised by the Gospel which she had both sought and found in the Heart of  Jesus.

The image speaks not of death but of resurrection. It is Christ, at once her Consolation and her Spouse, who stands before her in that moment of shared bliss, revealing her state of grace, the prelude of her Salvation.

In the painting, a few sisters are gathered around Mother Clelia in prayer and meditation. Her closed eyes and her weakened body instantly invite reflection on the mystery of life and its brevity. On her face is that serene expression of someone who has just fallen asleep in the absolute certainty of awakening to a new life, that life promised by the Gospel which she both sought and found in the Heart of Jesus.

The faces of Christ and Blessed Clelia occupy privileged spaces in the composition, opposite each other yet complementary; their positions reflect an exchange of emotions, both human and divine in a free dialogue of love. Not surprisingly, Mother Clelia’s face is positioned in that particular space described as the “golden section” along with the mirrored image of the face of Jesus that seems to dominates the scene. The image speaks not of death but of Resurrection.
Observing the they have in the reliquary case kept in the Generalate Chapel, the hands of the Foundress become the distinctive sign of a symbolic message, the invitation to welcome Jesus into one’s life and to show the beauty of his Word. Mother Clelia gave voice to that Word which in turn has echoed in every member of her Congregation.
In this iconographic space, profoundly weighted with silent emotion, the sisters are portrayed showing a variety of expressions that call to mind both the contemplative life and the dynamic life of mission. The four sisters signify cardinal points branching out into the world in the work of evangelization and witness.
One of the sisters bears a lamp in her hand signifying multiple meanings. It is that light of Christian faith with which Christ illumines our souls. At the same time it reminds us of the radiant example of the saints, “children of light” (Jn 12: 36; Lk 16: 8), and invites us to follow the path of light which is the Gospel: “So let your light shine before all, so that they may see your good works…” (Mt 5: 16)
The image of the present Superior General, Sr. Miriam Cunha Sobrinha, is also there. She is shown contemplating the Crucifix in the hands of the Foundress perhaps meditating in that moment on the meaning and importance of her own mandate as Superior General.
Her presence in the painting places the commission and the completion of the piece in the present day, rendering more explicit that sense of continuity of the fulfillment of Mother Clelia’s dream which still remains alive today through the apostolic works of her daughters called to be that constant presence of the merciful and loving Heart of Jesus in and for the world.
The other sisters who are present are intended as metaphorical images of the three theological virtues: Faith, Hope and Charity. They all have the same face and are not the portraits of any sister in particular. Representing different ages, they symbolically characterize all the members of the Institute today who are formed and have matured in the Charism of their Foundress.
The sister in the center of the picture is holding the crucifix to her chest as she looks out at us. She is the youngest, portraying that face of hope that never dies. Her gaze is an invitation to all to trust in the Heart of Jesus and to be witnesses of His Love.
Further to the left, another sister stands out from the group as she is the only one to have her sleeves rolled up, signifying the particular commitment of the Apostles of the Sacred Heart to those charitable works carried out daily in service to the poor.
Below and in the foreground, the eldest sister is seated with her head turned toward the Blessed Mother. In one hand she clasps the Crucifix while in the other she holds an open book. It is the Gospel, the book of the Word, that beating heart which nourishes and supports the apostolic works carried out in the Congregation in education, healthcare and pastoral service, according to the specific instruction of Mother Clelia: “What must be common to all Apostles is that spirit of charity which will be one in all of its various expressions” (Blessed Clelia Merloni).
Finally, the narrative is completed by the detail of two ears of wheat resting on the desk near the right edge of the painting. A grain of wheat, just fallen, offers the viewer the key to the entire piece, the inspiration for its very title: “Like a grain of wheat…” (“If the grain of wheat, fallen to the ground, does not die, it remains alone; but if it dies, it produces much fruit…Jn 12: 24). It is my hope that this painting can keep fresh the memory of a cherished moment that took place long ago in the life of the Foundress and that it can contribute to the triumph of the love and mercy of God the Father, to be able to “look at the past with gratitude, live the present with passion, and embrace the future with hope” (Pope Francis).
With renewed esteem and gratitude, I take this opportunity to send to you and to the whole community a cordial, affectionate greeting and best wishes for all that is good.

Madre Clelia si è fatta voce. E in ogni suora del suo Istituto si è fatta eco.

In uno spazio iconografico, misurato dal peso di una profonda e silenziosa commozione, le religiose sono rappresentate in atteggiamenti diversi che richiamano sia la vita contemplativa che quella più dinamica delle missioni.

In this iconographic space, profoundly filled with deep, silent emotion, the sisters are portrayed showing a variety of expressions that call to mind both the contemplative life and the dynamic life of mission.

The four sisters seem to represent four cardinal points that indicate the expansion of the work of evangelization throughout the world, to which the sisters give witness daily.

One of the sisters bears a burning lamp in her hand with multiple meanings. It is that light of Christian faith with which Christ illumines our souls. At the same time it reminds us of the radiant example of the saints, “children of light” (Jn 12: 36; Lk 16: 8), and invites us to follow the path of light which is the Gospel: “So let your light shine before all, so that they may see your good works…” (Mt 5: 16)

The image of the current Superior General, Sr. Miriam Cunha Sobrinha, is also there. She is shown contemplating the Crucifix in the hands of the Foundress, perhaps meditating in that moment on the meaning and the importance of her own mandate as Superior General.

Her presence in the painting places the commission and the completion of the piece in the present day, rendering more explicit that sense of continuity of the fulfillment of Mother Clelia’s dream which still remains alive today through the apostolic works of her daughters called to be that constant presence of the merciful and loving Heart of Jesus in and for the world.

The other sisters who are present are intended as metaphorical images of the three theological virtues: Faith, Hope and Charity. They all have the same face and are not the portraits of any sister in particular. Representing different ages, they symbolically characterize all the members of the Institute today who are formed and have matured in the Charism of their Foundress.

The sister in the center of the picture is holding her crucifix to her chest as she looks out at us. She is the youngest, portraying that face of hope that never dies. Her gaze is an invitation to all to trust in the Heart of Jesus and to be witnesses of His Love.

Further to the left, another sister stands out from the group as she is the only one to have her sleeves rolled up, signifying the particular commitment of the Apostles of the Sacred Heart of Jesus to those charitable works carried out daily in service to the poor.

Below and in the foreground, the eldest sister is seated with her head turned toward the Blessed Mother. In one hand she clasps the Crucifix while in the other she holds an open book. It is the Gospel, the book of the Word, that beating heart which nourishes and supports the apostolic works carried out in the Congregation in education, healthcare and pastoral service, according to the specific instruction of Mother Clelia: “What must be common to all Apostles is that spirit of charity which will be one in all of its various expressions” (Blessed Clelia Merloni).

Finally, the narrative is completed by the detail of two ears of wheat resting on the desk near the right edge of the painting. A grain of wheat, just fallen, offers the viewer the key to the entire piece, the inspiration for its very title: “Like a grain of wheat…” (“If the grain of wheat, fallen to the ground, does not die, it remains alone; but if it dies, it produces much fruit…Jn 12: 24). It is my hope that this painting can keep fresh the memory of a cherished moment that took place long ago in the life of the Foundress and that it can contribute to the triumph of the love and mercy of God the Father, to be able to “look at the past with gratitude, live the present with passion, and embrace the future with hope” (Pope Francis).

 

Giuseppe Antonio Lomuscio

Mother Clelia, Mother and Teacher

Title: “Mother Clelia, Mother and Teacher”
Technique: Oil painting
Dimension: 80×100 cm
Year: 2019
Author: Giuseppe Antonio Lomuscio

 

Description of the Painting

This painting, was commissioned as a celebratory work on Mother Clelia, Foundress of the Apostles of the Sacred Heart of Jesus. It is meant to be, above all, a point of reflection that draws us in, to help us to get to know Mother Clelia’s charism and to experience the value that education held as part of her evangelizing mission.

The depiction portrays a young Clelia, probably during the years of the founding of the Insitute. She has a soft, serene expression and a gaze that follows and accompanies the observer. Her youthfulness does not only reflect her age, but also the youthful appearance of one who knows Christ and always remains young because she carries in her heart a fervent love that is transformed into zeal to make the Sacred Heart of Jesus, her sole point of reference, known and loved.

She is  “Mother and Teacher,” the one who as a disciple learned from the crucified Christ the way to love without holding anything back and then sharing it with others through self-giving.

With rich symbolic meaning, the Foundress’ hands represent the central point of the composition.  With her right hand Mother holds the Crucifix, pressing it close to her heart as if to become one with it yet revealing it to others at the same time. With her left hand she takes up the Word of God making her a “voice” to teach and form her daughters and those who take part in her apostolate.

The position of the hands is also deliberately reminiscent of her hands as reproduced in the urn the Generalate of the Institute, whch contain her sacred remains. One, closed, “welcomes” Christ and the other, open, offers itself and “gives”.

Despite moments of darkness and obscurity (represented by the dark sky forming the background behind her), this conviction was the light that illuminated her path on this earth and which she has left us as her lived experience.

 

Giuseppe Antonio Lomuscio

God’s plan for Clelia

Title: “God’s plan for Clelia”
Technique: Oil painting
Dimension: 120×150 cm
Year: 2019
Author: Giuseppe Antonio Lomuscio

 

 Description of the Painting

This work was born out of the desire to create a new portrait of Blessed Clelia Merloni. With respect to a pre-existing and completed iconography, the result is an image that one may consider to be more interpretative than representational. It is an interpretation of the action of the Holy Spirit moving through the life and works of Mother Clelia.

The image invites us to go beyond the surface and discover a privileged place for reflection, so useful for understanding a painting whose purpose is to catechise.

Portrayed here, more or less during the years of the founding of the Institute, Blessed Clelia is pictured at the center of a composition enhanced by different subjects and elements that symbolically relate to her life and her great charism.

Her face, so peaceful and welcoming, has a loving expression that observes, guides and protects us and her hands with the crucifix and the open book express her charism of “Mother and Teacher” in its two foundational elements: reparation and evangelization.

Everything seems to revolve around her, but in reality the scene’s real center of gravity is the crucified Christ that Mother Clelia clings to and, at the same time, shows to us.  The children around her, representative of different ages and ethnic backgrounds and during their growing years, are part of the narrative that recalls the educational and formative aspects that distinguish the mission and activity of the Apostles of the Sacred Heart today.

Other elements from Mother Clelia’s life and works which express her  charism are easily recognizable:  from the Generalate of the Congregation she founded. Visible in the background, the dark clouds are reminiscent of the adversities that she faced in her life, to the stalks of wheat, symbolically representing Mother Clelia’s humility and self-offering in giving her life for the Institute.

What is illustrated thus far, however, also presents a second key factor in the interpretation, one that may be less evident and striking, yet more profound and noteworthy.  It is a particular feature that inevitably captures the observer’s attention: the dark square in the upper right corner of the image.

This element, almost impossible to detect, is deliberately dark and of the same color as Mother Clelia’s habit, symbolizing how dark and unclear it must have been in the beginning for Clelia to discern God’s plan.

However, the piece contains a white line, like light, symbolizing the presence of God in Clelia’s life which has characterized and illuminated her journey.  It is a continuous straight line, with neither beginning nor end, a symbol of eternity for God’s time is eternal.  The three areas depicted by primary colors (also called “pure” colors because through them all other colors can be created) represent humanity which is often characterized by different experiences, but which if seen in the light of God’s presence can help find its true fulfillment.

Through these symbols in the painting, another central element emerges that is, however, difficult to represent: time.  Not man’s time (kronos; Χρόνος), but God’s time (kairos; καιρός).

It is God’s time operative in the life of Mother Clelia that had a beginning (the plan represented by the square above), which evolved through Mother Clelia’s life experiences and her devotion to the Sacred Heart of Jesus, and resulting (not an ending…) in the works of the Institute that she founded and still continues today.

Therefore, the scroll held by the two young girls in the foreground, bears the seal of the Congregation symbolizing the fulfillment of God’s plan for Clelia, closes and finalizes this divine plan, metaphorically represented by a timeline that can be traced graphically by diagonally connecting the three main elements of the composition viewed from the top to the bottom: starting from the black square, passing through the crucifix at the center of the piece and finally ending in the white scroll with the seal of the Institute.

In observing the faces of the subjects that are represented in the scene, it is also possible to discern another detail. The only glances that are directed toward the observer are, not surprisingly, those of the Blessed Mother, of the youngest child in the lap of the young mother to the right and finally that of the little girl holding the scroll in the foreground. They are the same gaze directed toward others which accompanies and follows the spectator. It is as if they were the same gaze of Mother Clelia, a sign of a destiny already written from the beginning and which has grown over time and fulfilled through her works.

This painting, now seen in its own light, wishes to be a piece that provides an insight that tells and excites with the same generosity of the Apostles of the Sacred Heart of Jesus.  In it one can find, as much as they wish, the light and the blessing of Mother Clelia who supports, sustains and guides the path of our life as believers.

 

Giuseppe Antonio Lomuscio