Gianfranco Zenerato - ICON

OPPORTUNITY FOR COLLECTORS AND ART INVESTORS

Among the most appreciated contemporaries and fastest growing on Catawiki, Gianfranco Zenerato has already earned the trust of over 180 international collectors.

ADD A UNIQUE AND DISTINT OPERATION TO YOUR COLLECTION, CAPABLE OF ENHANCING THE PRESTIGE OF YOUR ARTISTIC ESTATE!

- 216 works sold
- 100% positive feedback
- 84 certified reviews

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www.zenerato.com

One-of-a-kind piece 100% HAND-PAINTED

WHY COLLECT A WORK BY GIANFRANCO ZENERATO

✓ Over 35 years of professional career
Active since 1990, Gianfranco Zenerato has developed over time a personal artistic language, recognizable and appreciated by collectors and art critics.

✓ More than 600 exhibitions and artistic events
A constant presence in the national and international art scene, built through decades of exhibition activity.

✓ Over 500 awards and recognitions
An artistic path recognized by institutions, critics and cultural organizations that have acknowledged its value and quality.

✓ Works present in private and public collections
His paintings are part of collections in Italy, Europe, America and Asia, confirming international interest in his work.

✓ Appreciated by the specialized criticism
His artistic research has been analyzed and presented by authoritative critics and art historians, including Paolo Levi, Giammarco Puntelli, Sandro Serradifalco, Giorgio Grasso and numerous other professionals in the field.

✓ A unique and immediately recognizable style
Zenerato's works unite figurative tradition, symbolism and contemporaneity. Each painting tells a story and invites the viewer to a personal and ever-new reading.

✓ Works realized with high technical quality
Great attention to detail, compositional balance and chromatic intensity make each piece a work with strong visual and collectible impact.

✓ Not just a simple decoration
Each artwork arises from a research path developed over more than three decades of professional activity and represents a synthesis of the artist's artistic vision.

An opportunity for the collector

Acquiring a Gianfranco Zenerato work means obtaining an original piece created by an artist with a long documented career, hundreds of recognitions and a consolidated presence in international collections.

A work designed not only to be admired today, but to maintain its artistic, cultural and collectible value over time.

One-of-a-kind piece 100% HAND-PAINTED
International Archive Certificate - Certificate of authenticity signed by the author - File containing the artist's artistic journey - total dimensions including frame 55x65.5x5 cm - acrylic, oil and sand on canvas - 2024
Ready to be hung - Beautiful handcrafted wooden frame

IMPORTANT NOTE FOR BIDDERS OUTSIDE THE EUROPEAN UNION
Shipping to non-EU countries is possible, but due to complex bureaucratic procedures (ministerial authorizations, customs procedures, etc.), there are additional costs already included in the shipping costs indicated in the listing.
For the same reason, delivery times may be longer than usual.
Thank you for your understanding.

GIANFRANCO ZENERATO (Professional Artist - Italy)

Active since 1990, he has embarked on an artistic path that has led him to participate in over 600 art events, receiving national and international recognitions for the quality of his works. With over 500 awards to his name, his creations enrich notable public and private collections in Italy, Europe, America and Asia. He has exhibited alongside masters such as Antonio Nunziante, Athos Faccincani, Alfonso Borghi, Giuseppe Menozzi, Giampaolo Talani, Saturno Buttò, etc...

Currently, he collaborates with the renowned art critic Prof. Giammarco Puntelli.

Some critiques from well-known sector experts:

Gianfranco Zenerato belongs to that line of 1970s artists, stern messengers to Western society. While the Milanese Antonio Recalcati and the Roman Franco Mulas expressed social anger, Zenerato is a bearer of a moving warning, where mankindailure may also represent the threshold of a secular redemption. It is a vision dense with symbolic meanings, of a painter from a modern school who, with talent, manages to reconcile research with experimentation. (Paolo Levi)

One notices from this emblematic image an invitation to meditate on the beauty of a still life, a flower and a young woman. The classicism of these silent images interrupts the suspended atmosphere of a grey world, the contemporary one, that diverts us from the dream. (Paolo Levi)

In this unsettling yet explicit visual message, the dialogue between chromatic essentialism and harmony of forms testifies to expressive tension and the mastery of a skilled artist. Interesting and original is the mixture of flowers, fruits and contemporary technological objects. (Stefania Bison)

Gianfranco Zenerato develops symbolic narratives that reveal, step by step, the infinite possibilities of a fertile imaginary, organized according to ordered sequences of his mental elaborations. His fanciful constructions could, therefore, confuse critical judgment in defining him as a surrealist. This is not correct, as he does not propose a unrealistic imaginary, but rather a reality familiar to us, with a communicative and highly symbolic purpose. (Sandro Serradifalco)

This painting by Gianfranco Zenerato is technically well structured, finely and richly articulated, and proposes reality built by the mind of a visionary. His works have a strong scenographic component, and those who explore these messages are left to decipher what meaning the author has attributed to them. He indeed plays with symbols and hints and enjoys confusing the interpretive coordinates of what could be the weave of a story camouflaged as unreality. (S. Russo)

With Gianfranco Zenerato we have an excellent idea, transformed with great capacity into a figurative of anticipation, where modernity meets a time that no longer exists to make us rediscover feelings... (Giammarco Puntelli)

The author focuses on the overlay and intersection of genres, on a provocative and metaphorical search in the subjects and colors. With a brilliant insight he unifies past (still life), present (the female image) and future (symbolism, cryptic writing...) so that the work becomes an artistic and literary and meta-narrative paradigm. The painter is urged to identify a new visual universe, to probe the limits of traditional iconography to show how painting today — amid much noise — is still a original discipline. The artist's creativity thus reaffirms — also thanks to dazzling chromatics — that the approach tied to genre still has citizenship in 21st-century painting.

Zenerato's painting leads us to a vision of reality operated on three levels. It is a journey through time that we confront with the artist, who through several experiments has come to place his vision in a present that looks to the past as an ideal world, but now lost, and to a future full of artificial and artificial contaminations.

It is a warning and an alert the message that emerges from the elements placed on the canvas surrounding his overall vision. The 'battery' that we find as a fixed element is telling us 'attention', time is running out, and the strong call of natural elements placed in the foreground, contaminated by objects from the technological world (the mouse, the CD, or the alarm clock) emphasize how important it is not to sever the link with the past, with a world where nature was predominant.

The feminine element, placed on the temporal plane of the present, represents the archetype of mother-Earth placed in the middle ground between past and future.

Gianfranco, like an Odysseus, travels in this temporal dimension, in search of the forces that sustain and shape us, alter or govern our fate. Pushed toward the future, the man-artist faces the journey with strength and determination, but then realizes his own fragility before the complexity of a world he created, the technological one, that is slipping from his hand and feels, therefore, the need to return to where he started. Thus the cyclicality returns in which the journey is this eternal call to life and to death. We must return to the starting point to find ourselves and the female figure thus becomes a symbol of the one who allows us to be reborn.

The words 'to depart' and 'to give birth' both contain the concept of separation and detachment, and in every journey undertaken by Gianfranco Zenerato there is this circular temporal reference, this departure and return. When looking to the future, all that remains for us is to turn our gaze to the past not to lose our roots, not to let ourselves be dehumanized by the technological and post-technological world.

Each journey puts rationality and emotions on the same level, raising doubts and fears, the times of everyday life distort and take on different meanings.

Going toward the future becomes a challenge, captured in the gaze of the female, but also a danger because it is almost a loss of identity. Starting out means facing the separation from the 'old self', made of habits, roles and certainties. Departing is still freedom, and even if this is limited because we venture into the unknown, it manages to bring order to the past. The moving perspective becomes centrifugal and centripetal, the flow of expansion is the direction one is going, while the center of contraction is the direction from which one comes, and in Zenerato's works you feel this sense of coming from one place and heading toward another. At the center the female figure as a point of reference: it is the artist's consciousness, the heart of going, with its rhythms, noises, times, difficulties, discoveries and emotions.

The temporal plane of the future that represents the arrival is, in some works, dehumanized, and the female figure is almost crumbled because the artist himself does not recognize himself in that placement: it is as if the loss of identity were a desolate resignation to the loss of connection with the past and even the elements of still life become, in some cases, almost absent and overwhelmed by those of the technological world.

Thus it becomes essential to protect oneself from this future, which advances perilously and almost uncontrollably, and to take refuge in something familiar and ancient where even "illusions are real".

With Gianfranco Zenerato we really have the possibility to travel through dreams, signs and symbols, where each of us will see our own reflection in a mirror. Departing with him will mean momentarily darkening those mirrors while awaiting a different image of ourselves to be discovered. We may find our essence, realize the relativity of our own values and points of view and those of others. We may get lost and then find ourselves again, recognizing a common nature, a common fate, a common identity. (Gaetana Foletto)

The artist, starting from classical pastiche with a language of pre-abstract figurative, on the background of his inner historizing cosmos, moves the movable cursor of his developing consciousness, up to the extreme urgencies of the present, subjecting his learned technique to the energy of dream, sign, symbol and above all the color, rich in clarity and timbral purity, to interact with the technologically present. His modernity is genuinely psychological and expressive of his expressive charge of variables of the postmodernist cartography of end of the 20th century onwards... with Caravaggesque perspectival overlays ... and modern psychology of post-Renaissance extraction (Rembrandt ...). Zenerato has creative potential of wide historical scope, skillfully combining poetically, assembling, making the poetry of the soul vibrate on the coordinates of art history in universal values, and in scanning on the cursor of his infinite imaginative evolution, through the hyperrealism of his visionary dream, a window opened added to reason. dialoguing with the present. (Prof. Alfredo Pasolino)

Very interesting his research: the figurative reaches scenic effects in a space where a symbolic frequency vibrates, entrusted from time to time to dream, to myth, or to daily reality, all harmonized by a splendid chromatic game.

The Artist of rigor and modernity
Edited by Francesco Cairone

Original authors are not so because they promote what is new, but because they present what they have to say in a way that seems never to have been said before.
(Goethe)

It is necessary to start from Goethe's incisive phrase to talk about the rich and innovative painting of the artist Gianfranco Zenerato, and this because through that simple sentence a great truth is told, namely that in painting everything has already been done and today the artist who seeks to conquer a personal individuality, without being influenced by currents and Masters of the past, must overcome enormous obstacles because as Giorgio Morandi also argued, "There is little to nothing in the world again", and therefore to be original one should paint keeping in mind social, technological and scientific evolutions.

It is said that art is for everyone but not for everyone, everyone therefore has the right to be moved by a masterpiece, but to paint and create is a gift that God has granted only to a few elect who, capable of seeing what others often do not perceive, manage to transform the emotions that arise from small things, from a gesture, from a caress, from a look, into vibrant tones that color the dullness of the world around us.

Among these lucky ones we should certainly include Master Zenerato, a talented artist like few, who makes minutiae, rigor and fantasy a painting style that, even if it recalls the masters of the past, shows that the artist has learned the lessons of fine painting by stealing from the greats an impeccable technique, presents a uniqueness and an individuality visible in that touch of elegant modernity present in every single creation, which makes him a rare exception in the national artistic panorama.

Bunches of flowers and ripe, lush fruit, laid on high walls of marble worn by years and often smeared with the amorous drawings of two young lovers, intertwine with objects of modern daily life, such as a CD-ROM, a mouse, a spatula, which become links between past, present and future; the surrounding landscape, almost always captured at dusk when the green ray greets the sun and welcomes the moon, emerges with even greater force what Zenerato bans on the marble boards in the foreground, where a color increasingly vivid ranges from red, to yellow, to green, and all the warmest tones of the rainbow.

And the rainbow seems to overshadow the career of this young and promising artist, a prose writer of art because a creator of a style that is first poetic and then pictorial, with which he manages to represent what he feels by filtering ugliness and negativities that our world carries with it.

They have written about him or judged his works:

Paolo Levi, Paolo Rizzi, Giammarco Puntelli, Giorgio Grasso, Sergio Capellini, Pietro Gasperini, Francois Buisson, R. Boschi, Michele Nocera, Carlo Alberto Gobbetti, Antonella Gotti, Gianni Ingolia, Dino Pasquali, Umberto Zaccaria, Umberto Tessari, Ottorino Stefani, Giulio Gasparotti, Carlo Federico Teodoro, Carlo Rigoni, Giorgio Trevisan, Vera Meneguzzo, Claudio Radaelli, Grillo Biagio, Luca Dall'olio, Franco Brescianini , Giovanni B. Bianchini, Mara Frignani, Aldo Tavella, Angelo Marchiori, Walter Coccetta, Paolo Baratella, Luciano Chinese, Luigi Consonni, Giuseppe Possa, Silvano Valentini, Siro Perin, Alfredo Pasolino, etc...

He collaborated with the following galleries:

Galleria Cd Studio d'Arte
Galleria New Dimensione Arte
Galleria Emmediarte
Galleria La Spadarina
Galleria l'Artista
Galleria Arttime
Galleria Orler