Gianfranco Zenerato - ICON

OPPORTUNITY FOR COLLECTORS AND ART INVESTORS

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

ADD TO YOUR COLLECTION AN EXCLUSIVE AND DISTINGUISHED WORK, CAPABLE OF ENHANCING THE PRESTIGE OF YOUR ARTISTIC ESTATE!

- 220 works sold
- 100% positive feedback
- 87 certified reviews

Dear Collectors,
if you are on vacation or temporarily away, I invite you to contact me to agree together on the delivery schedule of the purchased lot. I will be happy to accommodate your organizational needs so that the delivery occurs in the times and manners most convenient for you.

www.zenerato.com

Unique piece 100% HAND-PAINTED on canvas
International archiving certificate - Certificate of authenticity signed by the author

WHY COLLECT A GIANFRANCO ZENERATO WORK

✓ 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 on the national and international art scene, built through decades of exhibition activity.

✓ Over 500 awards and recognitions
An artistic path rewarded by institutions, critics and cultural organizations that have recognized 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 specialized critics
His artistic research has been analyzed and presented by renowned critics and art historians, including Paolo Levi, Giammarco Puntelli, Sandro Serradifalco, Giorgio Grasso and many other professionals in the field.

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

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

✓ Not merely a decoration
Each work arises from a research path developed over more than three decades of professional activity and represents a synthesis of the artist’s 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 solid presence in international collections.

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

"ICON" is a visual reflection on the sacredness of technology. The everyday object, a mouse, is sublimated into a relic of digital thought, a center of a chromatic energy that vibrates like an aura. The painting material becomes language of the information flow, translating the mechanical gesture into inner perception. The artist transforms functionality into a symbol, returning to the present a cult image: the icon of our connected time.
Possessing ICON means safeguarding a fragment of the most authentic contemporaneity: a work that unites aesthetics, reflection and technological memory. A painting destined to become a testimony of our transition from the analog man to the digital man.

International Archiving Certificate
Unique piece 100% HAND-PAINTED - total dimensions including frame 39x49x3 cm - acrylic, sand and luminescent varnishes on canvas - 2024
Ready to be hung - Splendid Baroque wooden frame prepared by hand

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

GIANFRANCO ZENERATO (Professional Artist - Italy)

Active since 1990, he has pursued an artistic path that 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 by well-known sector experts:

Gianfranco Zenerato is part of that current of 1970s artists, stern messengers to Western society. While Milanese Antonio Recalcati and Roman Franco Mulas expressed social anger, Zenerato, by contrast, is a bearer of a poignant warning, where the defeat of man 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 realizes from this emblematic image a kind of invitation to meditate on the beauty of a still life, a flower and a young woman. The classical nature of these silent images interrupts the suspended atmosphere of a gray world, the contemporary one, which distracts us from the dream. (Paolo Levi)

In this disturbing yet explicit visual message, the dialogue between chromatic essentialism and harmony of forms testifies to expressive tension and the mastery of a wise artist. Interesting and new is the blend 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 own mental elaborations. His fantastic constructions could thus confuse critical judgment in defining him as a surrealist. This is not correct, as he does not propose an absurd and unreal imaginary, but rather paints a reality familiar to us, with a purpose that is communicative and highly symbolic. (Sandro Serradifalco)

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

With Gianfranco Zenerato we have an excellent idea, transformed with great ability into a depiction of waiting, where modernity meets a time that no longer exists to make us meet again the feelings... (Giammarco Puntelli)

The author focuses on the overlay and intersection of genres, on an allusive and metaphorical research incisive in the subjects and colors. With stunning insight he unifies past (still life), present (the female image) and future (symbolism, cryptic writing...) so that the work becomes an artistic but also literary and meta-narrative paradigm. It urges the painter to identify a new visual universe, to probe the limits of traditional iconography to demonstrate how painting today — amid so much noise — is still a original discipline. The artist’s creativity then reiterates — also thanks to the dazzling chromies — how the genre-related approach still has citizenship in 21st-century painting.

Gianfranco Zenerato’s painting leads us to a vision of reality operated on three levels. It is a journey through time that we undertake with the artist, who through various experiments has over the years positioned 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 a forewarning the message that emerges from the elements on the canvas surrounding his overall vision. The “battery” that we find as a fixed element is telling us “attention”, time is about to run out, and the strong reminder of natural elements placed in the foreground, contaminated by objects of 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 prevailed.
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 Odyssey, travels in this temporal dimension, seeking 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 in front of the complexity of a world he created, the technological one, which slips from his hands and he thus feels the need to return to where he started. Thus the cyclicity 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 feminine 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 temporal circular reference, this departure and then return. When looking to the future, we can do nothing but turn our gaze to the past to not lose our roots, not let ourselves become dehumanized by the technological and post-technological world.
Each journey places rationality and emotions on the same level, raises doubts and fears, the times of daily life distort and take on different meanings.
To move toward the future becomes a challenge, captured in the feminine gaze, but also a danger because it is almost a loss of identity. Departing one must face the separation from the “old self”, made of habits, roles and certainties. Departing is still freedom, and even if this is limited because one goes toward the unknown, it manages to bring order to the past. The moving perspective becomes centrifugal and centripetal, the flow of expansion is the direction in which one is going, while the focal point of contraction is the direction from which one comes, and in Zenerato’s works one senses this sense of coming from a place and heading toward another. At the center the feminine 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 representing arrival is, in some works, dehumanized, and the feminine figure is almost crumbled because the artist himself does not recognize himself in that position: it is as if the loss of identity were a disconsolate resignation to the loss of connection with the past, and even the elements of still lifes become, in some cases, almost absent and overwhelmed by technological ones.
It then becomes fundamental to protect oneself from this dangerous and almost uncontrollable future, and to take refuge in something known and ancient where even “illusions are real.”
With Gianfranco Zenerato we truly have the possibility to travel through dreams, signs and symbols, where each of us will see himself reflected in a mirror. Departing with him will mean momentarily darkening those mirrors in anticipation of discovering a different image of ourselves. We may find our essence, we will realize the relativity of values and points of view, ours and others. We may get lost and then find ourselves, realizing a common nature, a common destiny, a common identity. (Gaetana Foletto)

The artist, starting from classical pastiche with a language of figurative pre-abstract, against the backdrop of his inner historicizing cosmos, expands the mobile cursor of his emerging development consciousness, up to the extreme emergencies of the present, subjugating 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 present even technological. His modernity is genuinely psychological and an intensive expression of his expressive charge of variables of the postmodern quotation of the late 20th century onwards... with Caravaggesque overlapping perspectives ... and modern psychology of post-Renaissance extraction (Rembrandt ...). Zenerato has vast creative potential, poetically combining it, assembling, making the strings of the soul’s poetry vibrate on the coordinates of art history in universal values, and in a scan 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 everyday reality, all harmonized by a splendid chromatic game.

The Artist of rigor and modernity
Edited by Francesco Cairone

The most original authors are not so because they promote what is new, but because they show what they have to say in a way that seems it has never 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 phrase a great truth is told, namely that in painting everything has already been done and today the artist who seeks to conquer his own individuality, without being influenced by currents and by the Masters of the past, must overcome enormous obstacles because as Giorgio Morandi also said, “There is almost nothing new in the world,” and therefore to be original one should paint considering social, technological and scientific evolutions.

It is said that art is for everyone but not for everyone; everyone has the right to be moved by a masterpiece, but painting and creation is a gift that God has granted only to a few chosen 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 glance, into vibrant tones that color the dullness of the world around us.
Among these lucky ones one must surely count Master Zenerato, a talented artist like few, who makes minutiae, rigor and fantasy one painting style that, although recalling past Masters, shows that the artist has learned from the lessons of fine painting, stealing to the greats an impeccable technique, presenting a uniqueness and an individuality visible in that touch of elegant modernity present in every single creation, making him a white crow on the national artistic scene.
Stems of flowers and ripened, lush fruit, laid on high marble walls worn by the years and often defaced by amorous drawings of two young lovers, intertwine with objects of modern daily life, such as a CD-ROM, a mouse, a spatula, which become the link between past, present and future; the surrounding landscape, almost always glimpsed at dusk when the green ray greets the sun and welcomes the moon, emerges with even greater force what Zenerato banishes on the marble boards in the foreground, where a color increasingly vivid stands out, ranging 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, prose writer of art because he creates a style that is first poetic and then pictorial, with which he manages to represent what he feels filtering the ugliness and negativity that our world carries with it.

People who 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 has 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