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ICON PAINTINGS

Our Lady of Guadalupe June, 1999 Egg tempra paint and gold leaf on wood; 16" by 26" size. This icon depicts Mary, the Blessed Mother of God, standing on the crescent moon, and being held by an angel. It is central to the Mexican people. The inscription I have chosen to write on this icon is the title Our Lady called herself in the Spanish/Nahuatl (Aztec native language), as well as the modern Spanish name on the right. The Aztec language translation means: "The entirely perfect Virgin, Holy Mary, who crushes the stone serpent-god, Quetzalcoatl." The latter was the one of the dreaded Aztec deities, to whom 20,000 human sacrifices were offered annually. Prototype based on an icon written by God on the tilma (cloak) of Juan Diego, 1531. Original at the New Basilica of Guadalupe, near Tepeyac Hill, Mexico City, Mexico. Written under the inspiration of the Holy Spirit by the unworthy hand of Teresa Danovich (in class with Adrian Avram, instructor). Click image to see larger size of icon.

Noli Me Tangere (or Do Not Cling to Me) September, 1998 Egg tempra paint and gold leaf on wood; 8" by 10" size. Egg tempra paint and gold leaf on wood; 8" by 10" size This icon shows Christ in the garden after He had risen from the dead. Mary Magdalene, one of his followers, meets him. She was not aware that it was Christ; she thought he was the gardener. When Christ said her name, she realized it was Him and wanted to cling to Christ. This is based on the Holy Scriptures in John 20:14-17. Prototype is Cretan, 16th Century, and the original is at the Institute ellenico, Venice, Italy. Written under the inspiration of the Holy Spirit by the unworthy hand of Teresa Danovich (in class with Adrian Avram, instructor). Click image to see larger size of icon.

The Anastasis or Descent into Hades (or The Harrowing of Hell) May, 1998 Egg tempra paint and gold leaf on wood; 11.5" by 16" size. This icon shows Christ's descent into hell, after his crucifixion and resurrection. Christ is raising up Adam and Eve, the first human beings/parents, to new life by His fulfillment of the Hebrew Scriptures. The scroll in Christ's hand depicts this as well as the scroll Christ has given to Adam. The inscription around Christ is in the traditional Greek letters with "IC" and "XC" for Jesus Christ. The form of a cross is in Christ's halo and the abbreviation of the Greek words that God used on Mount Sinai to Moses "I am who am." Prototype based on an icon written by Father Gregory Kroug, Early 20th Century, Russian born/French. Original at the Skete of the Holy Spirit, Mesnil-St-Denis, France. Written under the inspiration of the Holy Spirit by the unworthy hand of Teresa Danovich (in class with Adrian Avram, instructor) Click image to see larger size of icon.

Jesus Christ, Ruler of Everything (or Jesus Christ, Pantocrator Enthroned) November, 1997 Tempra paint and gold leaf on wood; 16" by 22" size. This icon shows Christ seated on a throne. He is Supreme Judge, Ruler, and King. However, the size of his head, which is relatively small in relation to the size of his body, indicates the humbleness of Christ. The Scripture that I chose to be on the open Gospel book also displays the kindness of God. I decided to add the book and verse number for the Protestant community's benefit; however, this is usually not done on a traditional icon, since this is not relevant in the orthodox tradition. They believe that if God said it, it must be so; they do not need to point to an exact place in the Holy  criptures/Bible where this is written. Prototype based on an icon written by the School of St. Andrew Rublev, Late 15th Century, Russian. Original at the University of Oregon Art Museum, Eugene, Oregon, USA. Written under the inspiration of the Holy Spirit by the unworthy hand of Teresa Danovich (in class with Adrian Avram, instructor). Click image to see larger size of icon.

Saint Michael the Archangel December, 1994 Icon Painting Prototype based on detail from Deesis Cycle, Andrei Rublev, Russian, 15th c.  This icon is based on a detail from the Deesis Cycle, or "Prayer Row." Typically Christ enthroned is in the central part of a "prayer row" and then various saints and angels are on each side.  The saints and angels are all bowing towards Christ.  The Prototype is based on a Russian icon,  rom the first half of the 15th Century, School of Andrew Rublev,  ollowing the traditions of Vladimir Suzdal.  The prototype is formerly the property of the Monastery of St. Nicholas, Moscow. Click image to see larger size of icon.

Saint Gabriel the Archangel Tempra paint and gold leaf on wood; 9" by 12" size  Icon Painting This icon is based on a detail from the Deesis Cycle, or "Prayer Row." Typically Christ enthroned is in the central part of a "prayer row" and then various saints and angels are on each side.  The saints and angels are all bowing towards Christ.  The Prototype is based on a Russian icon,  rom the first half of the 15th Century, School of Andrew Rublev, following the traditions of Vladimir Suzdal.  The prototype is formerly the property of the Monastery of St. Nicholas, Moscow. Written under the inspiration of the Holy Spirit by Teresa Danovich,  In class with Adrian Avram, Master Iconographer February, 1997 Click image to see larger size of icon.

 

Our Lady of Czestochowa (or Black Madonna) September, 1994 Tempra paint and gold leaf on wood; 9" by 12" size. This icon is central to the Polish people, and has been used numerous times throughout this country's history as a source of hope in times of national crisis. It is a traditional icon with Mary, Christ's Mother, holding the Child Christ on her arm. Christ is holding the Hebrew Scriptures and has his arm raised in blessing. Mary's gaze is toward us, with her arm pointing towards Christ, as if to say to us, "Do whatever he tells you to do." Prototype based on an icon with its origins based on two different theories: 1) painted by St. Luke, the  vangelist, who wrote St. Luke's Gospel and the Book of Acts (in the Bible/Holy Scriptures) 2) completed in the 6th - 9th Century, Odigiatria type icon. Original in Jasna Gora Monastery, Czestochowa, Poland. Written under the inspiration of the Holy Spirit by the unworthy hand of Teresa Danovich (in class with Adrian Avram, instructor). Click image to see larger size of icon.

 

Christ the Teacher Tempra paint and gold leaf on a wooden panel (covered with a silver plated riza that was hand made in Russia); 11" by 12.5" size This icon of Christ the Teacher was made from several different prototypes.  I mainly tried to put together a figure that would fit in the size of the opening of the riza.  The risa was made in Russia.  Christ is holding the open Gospel book in one hand, and in the other hand he has raised with his fingers in a sort of sign language, spelling "IC, XC."  He is also pointing with this hand towards himself. "IC, XC" is the abbreviation in Greek for the name, "Jesus Christ" which means "the Savior of the World, the Anointed One."  English translations are used in the tempra paint on the icon while the riza has the words in Russian.  The Bible passage in the Gospel book is one of the variations that typically appear in icons, although in traditional icons the words of Scripture are typically in Greek, Church Slovanic, or Russian. Written under the inspiration of the Holy Spirit by the unworthy hand of Teresa Danovich (in class with Adrian Avram, instructor). Click image to see larger size of icon.

 

Our Lady of Klokochovo Tempra paint and gold leaf on a wooden panel (with mother of pearl, carnelian, and tiger eye gems); 8.75" by 12" size In the Subcarpathian region (Slovakia, Ukraine, Hungary, Romania), there are several miraculous weeping icons of the Blessed Mother, and this one is one of the most important ones.   It is believed that Mary, the Most Holy Mother of God, is either calling people to conversion or seeing the suffering of oppressed people, sympathizes with them in a visible manner by miraculously shedding tears in various places.   In 1670 the prototype of this icon was in the small wooden church called the Dormition of the Mother of God, in Klokochovo, Slovakia. Written under the inspiration of the Holy Spirit by Teresa Danovich, with Adrian Avram, Master Iconographer, February, 2001 Click image to see larger size of icon.

 

Our Lady of Jerusalem Acrylic paint and gold leaf on a wooden panel; 12" by 14" size This icon depicts Mary, the Mother of God, holding her Son, Jesus Christ. She is holding him and teaching about who He is.  Christ is also holding a rolled up scroll of the Scriptures in his right hand.  This icon was blessed by Pope John Paul II on March 31, 2001.  This is a hodigitria type icon; the prototype icon was moved to Russia in the 5th Century. Written under the inspiration of the Holy Spirit by Teresa Danovich, with Philip Zimmerman, Master Iconographer, August, 1995 Click image to see larger size of icon.

Christ the Teacher (Greek Icon) Tempera paint and gold leaf on wood; 8" by 110.5" size. Egg tempra paint and gold leaf on a wooden panel; 8" by 10.5" size  This icon of Christ the Teacher was made from a prototype from the Divine Liturgy book.  Christ is holding the open Gospel book in one hand, and in the other hand he has raised with his fingers spelling "IC, XC."  These letters are the abbreviation in Greek for the name, "Jesus Christ" which means "the Savior of the World, the Anointed One." In Christ's halo there is traditionally the form of a cross, and the abbreviation of the Greek words that God used on Mount Sinai to Moses "I am who am." The Scripture passage on the open Gospel book is also in Greek.    The prototype for this icon was taken from the book entitled The Divine Liturgy by Rev. William Levkulic; it was published by the Byzantine Seminary Press, Pittsburgh, PA in 1978. Written under the inspiration of the Holy Spirit by Teresa Danovich, with Adrian Avram, Master Iconographer, September, 2001 Click image to see larger size of icon.

The Mother of God, Mary,  Holding Dorothy Kyung Mee April 1996. Private Collection.  Tempera paint and gold leaf on wood; 9" by 12" size. Based on Icon of Mother of God, Korsun (Korsunskaya), Russia, 18th c. In this icon, the affectionate relationship between Mother and child is increased by the  ands of the Mother caressing the hands and head of the child. Dorothy, the iconographer's daughter, joined the family by adoption. Dorothy  as born in Korea. This icon was written for her, so that she might always be aware of her heavenly Mother's love and concern during her entire life. Written under the inspiration of the Holy Spirit by the unworthy hand of Teresa Danovich (in class with Adrian Avram, instructor). Click image to see larger size of icon.

 

GLASS ICONS

The Healing Fount  or The Lake of Siloah: The Holy Icon of the Source of Healing May, 1997 (Folk Glass Icon Style) Oil paint, ink, and gold leaf on glass; 11" by 14.5" size  This icon depicts Mary, the Mother of God, in the "orans" prayer position. She is holding the Child Christ in her lap.  They are seated on top of a fountain; healing water flows out from them.  This water is being gathered and given to the sick, lame, and even the dead, for healing.  Prototype based on an icon by Matei Timforea  from Cirtisoara, Romania, 1894. Written under the inspiration of the Holy Spirit by the unworthy hand of Teresa Danovich (apprentice under an Oregon Historical Society Folklife Grant with Adrian Avram, Instructor) Click image to see larger size of icon. Also, please see a close up of the painted glass section.

The Nativity (Birth) of Our Lord Jesus Christ November, 1997 Folk Glass Icon Style. Oil paint, ink, and gold leaf on glass; 7" by 8.5" size. This icon shows Christ's birth, with his Mother, Mary, and Father, Joseph. Christ was born in a cave, since there was no room at the local inns. The blackness of the cave signifies the darkness of the world prior to Christ's birth. The animals in the cave/stable recognized his birth. Angels came and announced this good news to nearby shepherds who were tending their flocks. Three wise men, who followed a star, came and brought gifts to Christ. Christ's birth is the essence of Christmas. Prototype is an icon written by Ion Hindoreanu, a Romanian, during the 19th Century. Written under the inspiration of the Holy Spirit by the unworthy hand of Teresa Danovich (apprentice under an Oregon Historical Society Folklife Grant with Adrian Avram, Instructor). Click image to see larger size of icon. Also, please see a close up of the painted glass section.

Our Lady of Sorrows March, 1997 Folk Glass Icon Style. Oil paint, ink, and gold leaf on glass; 7" by 8.5" size. This is a typical glass folk icon that can be found in Romania, Hungary, Slovakia, or Poland. It represents Mary, Christ's Mother, who is in prayer while her Son, Jesus, is being crucified. The prototype based on an icon from Nicula, Romania, 19th Century. Written under the inspiration of the Holy Spirit by the unworthy hand of Teresa Danovich (apprentice under an Oregon Historical Society Folklife Grant with Adrian Avram, Instructor). Click image to see larger size of icon.

Our Lady of Mariapoch September, 1996 Folk Glass Icon Style. Tempra paint, ink, and gold leaf on glass; 8.5" by 8.5" size. This icon is central to the Ruthenian and Hungarian people. The original was in a small town, Mariapoch, Hungary. However, when many miracles occurred, it was taken to the main cathedral in Vienna, which was the capital city in the Austro-Hungarian Empire at the time. A second one was made, based on the first one, and placed in Mariapoch, and this one too is miraculous. It shows Our Lady Mary, the Mother of God, holding the Child Christ on her arm. Christ is holding a stem with three flowers, representing the Trinity, and his arm is raised in blessing. Mary's gaze is toward us, with her arm pointing towards Christ. The frame is painted in a traditional folk pattern. The prototype based on an original icon, which is in St. Stephen's Cathedral, Wien (Vienna), Austria. Hungary, 1696. Written under the inspiration of the Holy Spirit by the unworthy hand of Teresa Danovich. Click image to see larger size of icon.

St. Nicholas March, 1995 Painted Glass Icon Saint Nicholas is one of the most highly regarded saints in the Eastern Christian Churches.  A saint is considered to be a "holy person."  In addition to being called "holy," Saint Nicholas is also called a "Wonderworker" due to the many miracles attributed to him. The English translation of his name is also used on this icon. The prototype is based on an original icon, which is in St. Sophia's Church in Rome, Italy.  The prototype was completed by  Fr. Juvenalij Josyf Mokryckyj, 20th century, Ukrainian. Prototype from Fr. Juvenalij Josyf Mokryckyj 20th c., Ukrainian Original in St. Sophia, Rome -- Click image to see larger size of icon.

ARTIST'S STATEMENT

As an iconographer, I am to "write" a Gospel, the "good news" with a paintbrush. Icons are also considered to be "written" rather than "painted" since they are inscribed with the names of those portrayed. I take the prototypes and religious statements that have been handed to me in the past, and try to be faithful in sharing these words with others.

My spiritual upbringing centered on the Byzantine Catholic (Carpathian Rusyn of Slovak origin), as well as the Roman Catholic Church. My early upbringing occurred in Philadelphia, PA. I was used to seeing these images on icon screens in the Byzantine church as a child. I never dreamed that some day, I too, would feel called to write them. My "education" is mainly in the sciences; I am still currently working part time in the environmental field. However, after graduate school, I lived for some time with groups of Christians in a community setting. The basis for one of these groups was the prayer according to the ecumenical community of Taizé, France. At that time, I started to gaze at icons as part of my prayer life.

In 1993, during a period of "unemployment," I enrolled in a course offered at the Linn-Benton Community College in iconography. I have continued to work with this gift since that time. I have been immensely blessed by it, and continue to pursue this ministry, as God allows. Words cannot describe the graces that I have received and the connection that I feel to the larger Church community, both past, present, and future, by writing these works.

I accept commissions from individuals and religious congregations to write icons. However, since I work part-time in another job, and am a married woman with two children, I require a minimum of four months in order to complete a simple icon. If you have a need for an icon within a shorter time period, I can refer you to other iconographers. Their success is mine also.

Thank you for allowing God to be present to you in this way.

RESUME

• Tempra
• Egg tempra
• Acrylic on wood
• Oil and tempra on Glass