Er Daniel Maidman's værker stadig beskyttet af ophavsret?

Ja, værker af denne kunstner er stadig beskyttet af ophavsret.

(1975 - ) – Malerier, biografi & hovedværker

The Artistic Practice of Daniel Maidman

Born in Toronto, Canada, Daniel Maidman is a painter and art writer currently residing in Brooklyn, New York. His artistic output is characterized by an eclectic range of subjects, spanning from figure and portraiture to still lives, landscapes, and investigations into architecture, machinery, and microflora. His visual language occupies a broad spectrum, moving from high rendering to almost total abstraction. Notably, his work has been recognized by the Saatchi Gallery, which selected his painting Hands #1 for display at Gallery Mess in London.

Maidman’s technical foundation includes extensive mentored independent study in gross anatomy at Santa Monica College, which resulted in an anatomical atlas in 2003. His illustrations from this study were utilized in the United States Army's forensic field guide, Identification of Deceased Personnel. His paintings have been featured in various exhibitions across New York, Washington DC, California, Ohio, Missouri, and Oregon, and he has been a repeated finalist in the annual figurative painting competition of The Artist’s Magazine.

Writing and Critical Contributions

Beyond the canvas, Maidman has established a significant presence as an art writer, covering topics from technique and criticism to philosophy and aesthetics. His writing on technique has been published in Artist Daily and International Artist, while his criticism and general art writing appears in The Huffington Post. His perspectives have also been featured in ARTnews, Whitehot Magazine, and MAKE Literary Magazine.

His academic engagement with art includes teaching the subject of Da Vinci at DePaul University and Roosevelt University in 2012, and moderating a panel of graduating fellows at the New York Academy of Art in 2013. His written work is noted for its broad approach to various art styles and movements, seeking to read the work of others regardless of idiom.