Icon of the Archangel Michael by Monika Frys-Żurek

Archangel Michael has for centuries been associated with the battle between good and evil, order, and justice, which is why he is often called the Guardian and Protector. His name, translated as “Who is like God?”, is a proclamation of faith and the triumph of God over darkness. In iconography, he is surrounded by a halo - a sign of holiness and vigilance toward the voice of humanity - and in his hands he holds a sphere symbolizing the earth. Sometimes the symbol of Christ is placed within it, emphasizing that all creation remains under divine care. The sphere in the Archangel’s hands therefore reminds us not only of protection but also of God’s sensitivity toward the world in which we live.

I wrote this icon of Archangel Michael with deep attention to the symbolism of light and the watchful presence of the angel. The Archangel is shown in a gesture of readiness and attentive listening - his double ear folds symbolize his alertness to human prayer, and the sphere of the world in his hands highlights his role as Protector and Guardian.

The work began with preparing the podlinnik, followed by a multi-layered gesso process. On the linden wood board, strengthened with oak braces, I applied several coats of shellac varnish (light shade), and after drying and smoothing the surface, I applied 23 ¾-carat transfer gold, which I sealed with lustrina for durability and an enduring noble sheen.

The painted border of the icon was hand-finished with acrylic paint in a shade of red ochre. After cleaning the surface, I began the painting process using natural mineral pigments. The wings were first formed using burnt sienna and raw sienna, then gradually layered with green umber, red ochre, and Nicosian green, building soft, luminous transitions. Their brightness was enhanced with cadmium red and cadmium yellow, illuminating individual feathers with titanium white and mineral gold.

The Archangel’s garments were built with layers of green umber, intense cobalt blue, raw sienna, various ochres, cadmium red, and light umber, applied gradually to create a deep, almost moving light. The orange garment was completed using cadmium red and yellow, titanium white, and light ochre.

The sphere in the Archangel’s hands was modeled through successive layers of umber, cobalt blue, raw sienna, light ochre, red ochre, titanium white, and cadmium pigments, then highlighted with gold to reveal its radiance.

Finally, I worked on the face and hands, using subtle, muted skin tones and numerous glazes to bring out the inner light characteristic of icons. The hair gained its natural rhythm through burnt umber, burnt sienna, raw sienna, light ochre, and red ochre.

Once the painting was fully completed, I sealed the entire work with a light shellac varnish, which provides durability and a soft, noble sheen.

Every icon requires many hours of concentration, attentive craftsmanship, and prayer - allowing not just an image to be created, but a testament to a spiritual encounter.