Not as strict icons but true visions are offered to us by Daniela Montanari. Her past professional and cultural experience in architecture, restoration and planning becomes a added value metabolized in her figurative passion, which examines the constructive research of the female figure renewing the type of romantic pop-portrait. Daniela accomplishes the rare and difficult dynamic balance between the fine attention to detail and the structuring and focus of synthetic organic unity of vision and figure. (…) All the work is appreciated "inside" the image of women. The compositions tell us about the intimate magic of immense female worlds captured in their clear and specific westerness (…). There is no rhetoric in her language because there is no theorem or imitation or second communication purposes, but only passionate research and refined technique that aims to regenerate the imaginary painting in the portrait. (…)

Giacomo Maria Prati, 2009


(...) Daniela Montanari is definitively part of the hyperrealism movement. Her painting, careful, precise and sharp, delights in a maniacal search for imperfection. The facial details, the wrinkles and lines; the textural details, such as the reproduction of the fabrics and the dyes; constitutes an attempt to explore the capacity of brush and paint to compete with images of mechanical origin, like the photograph, and hence explores the very surface of reality, through the ability to reinvent, using mimetic subtlety, the codes of the reign of the visible. (...)

Vittorio Sgarbi, 2006


(...) Portrayed with their large and small imperfections, the protagonists, in colored pencils and oil, of the artist are friends and relatives: children, adolescents, women, the elderly. They come directly from life of everyday and represent the exact opposite of  stereotyped characters of glamour and glossy billboards, commercials, fashion shows. They are not self-confident, successful, without blemish and without sin. On the contrary, faces, thanks to gradual transitions of light that highlight the features and increase the intensity of expression, become a mirror of inner restlessness. The artist focuses almost exclusively on the faces, studying them in detail, with attention to detail worthy of an amanuensis. Her painting is soft and dissolving, which lies on the canvas gently and softly. A painting of great intensity, velvety, with precise and delicate touches, where the barb is almost prohibited and the color can not be other than small and bright. (...)  Montanari digs through wrinkles and faces, the smiles and the subjects  wonders, to find traces that events and passions have left on the field. (...)

Maurizio Sciaccaluga, 2005


(…) The subjects chosen by the artist are part of her sentimental sphere of her real life, projected and reflected in wrinkles and blemishes of the gigantic faces, showing much of herself on huge canvases.
Imperfections yes, but they are real "eye drops" for us to view. Faces that, in their raw truth, disturbing and fascinating at the same time, attract us because authentic. (...). They are pictures that require weeks of work, sacrifice and discipline, and this justifies, as well as the preciousness of the work, the limited production of the artist. (…)

Alessandro Trabucco, 2005


(…) The artist seems to dig in the figure, which sometimes also manifests dark sides, faintly identifiable, and highlights the subjects sense of fear to get into the scene. The shadow appears to have kept a value almost magical at the same time taking on an aura of negativity and arcane. It becomes, like other elements, one of those signs of belonging conclusively that also embody inner excavations, showing the need to leave traces of lived in every creature. (…)

Michele Fuoco, 2005


(…) The hyper-realistic portrait is her "positive" obsession. She depicts in the foreground young faces or faces marked by time, partially shaded. The fixed stare, almost glassy, stops a moment and makes that motionless eye particularly disturbing, while the softness of the lips and anatomical details give a breath of life. Approachable to sculptural experience of highly international success of  the Australian sculptor Ron Mueck, virtuous capable of transforming raw silicon into real skin, or like  Piccinini’s recent work : hyperrealism of denunciation for the artist admired for his Boy five meters high, an ambiguous and creepy game that of the sculptor, psychological introspection and communication for Montanari and uniqueness in the medium of painting: the colored pencils. (…) The manual ability is essential, and the representation of the subjects is so close to reality as it transmits, at times, a feeling of irritation derived mainly from exasperated gigantism of the faces depicted. (…)

Giusy Caroppo, 2004


(…) The search for the young artist does not go in the direction of hyperrealism, which is already sufficiently explored. She steps further towards the discovery of a new way of doing figuration, not simply adhering to the truth, but in truth itself. It's physiognomy translated on canvas, where the deepest selves, although invisible from the outside, comes out because it leaves clear and indelible footprints right on the skin. The artistic work of Montanari begins with a feverish work of photographs aimed at capturing the smallest detail imprinted on the epidermis of the chosen subjects, or their clothing. (…) Then the rest is all in her hand and in the stubbornness of revealing remote character traits of her subjects, to furnish a true complete cognitive map. (…)

Sabrina Arosio, 2004


Daniela Montanari portrays friends and family with a meticulousness and attention to detail worthy of an amanuensis. Hours of photo session prelude to a meticulous and demanding work and due to size, almost one month to paint. Careful studies of light are the basis of these faces that emerge from the black backgrounds with dazzling clarity, made in infinitesimal details  by imperfection of the skin to the hair, painted one by one with thin brushes, or scratching the canvas. (…)

Alessandra Redaelli, 2004