Gianfranco Zenerato - ICON

IDEAL FOR INVESTMENT
Over 180 collectors have purchased Gianfranco Zenerato works on Catawiki.
AMONG THE TOP 5 RAPIDLY RROWING ARTISTS ON CATAWIKI

ADD THIS EXCLUSIVE PAINTING TO YOUR COLLECTION!!!

198 pieces sold - 100% Positive - 75 reviews

www.zenerato.com

(Fluorescent painting)

Gianfranco Zenerato (Professional Artist - Italy)

• Active since 1990, with over 600 appearances at national and international art events.
• Recognized for the high quality of works, with over 500 awards won.
• Present in public and private collections in Italy, Europe, America and Asia.
• Has exhibited alongside masters such as Antonio Nunziante, Athos Faccincani, Alfonso Borghi, Giuseppe Menozzi, Giampaolo Talani, Saturno Buttò, etc.
• Reviewed by leading Italian critics.

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

International archival certificate - Certificate of authenticity signed by the author - File containing the artist’s career
Single hand-painted work - total dimensions including frame 30x30x3 cm - acrylic, metallic colors, luminescent pigments on canvas - glows in the dark - 2026
Ready to hang - Splendid high-quality wood frame LARSON-JUHL RUBENS, internationally recognized brand for refined and durable frames.
(Modern icons series)

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

GIANFRANCO ZENERATO (Professional Artist - Italy)
Active since 1990, he has undertaken 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 school of 1970s artists, stern messengers toward Western society. While Milanese Antonio Recalcati and Roman Franco Mulas expressed social anger, Zenerato conveys a poignant warning, where mankind’s defeat may also mark the threshold of secular redemption. It is a vision rich in symbolic meaning, of a painter in the modern school, who talentfully reconciles research with experimentation. (Paolo Levi)

One notices in this emblematic image a kind of 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 gray world, the contemporary one, which diverts us from dream. (Paolo Levi)

In this unsettling yet explicit visual message, the dialogue between chromatic essentiality and form harmony testifies to expressive tension and the mastery of a skilled artist. The interesting and original blend of flowers, fruits and contemporary technological objects (mouse, CD, clock) bridges past, present and future. (Stefania Bison)

Gianfranco Zenerato develops sign-based narratives that unveil, step by step, the infinite possibilities of a fertile imaginary, organized according to ordered sequences of his mental elaborations. His fantastical constructions could 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, he paints a reality familiar to us, with a purpose that is communicative and highly symbolic. (Sandro Serradifalco)

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

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

The author relies on overlay and intersection of genres, on a sharp, allusive and metaphorical research into subjects and colors. With dazzling intuition, he unifies past (still life), present (female image) and future (symbolism, cryptic writing ...) so that the work becomes an artistic paradigm but also literary and meta-narrative. It presses 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 an original discipline. The artist’s creativity then reinforces — also thanks to vibrant chromatics — how the approach tied to the genre still has rightful citizenship in 21st-century painting.

Gianfranco Zenerato’s painting leads us to a three-tier vision of reality. It is a journey through time that we undertake with the artist, who through various experiments has arrived over the years at placing his vision in a present that “looks” to the past as an ideal but lost world, and to a future full of artificial and artificed contaminations.
It is a warning and an alert the message that emerges from the elements on the canvas surrounding his overall vision. The “battery” we find as a fixed element is telling us “attention,” time is about to run out, and the strong call of natural elements placed in the foreground, contaminated by objects of the technological world (the mouse, the CD or the alarm clock) underline how important it is not to sever the bond with the past, with a world where nature was predominant.
The female element, placed on the temporal plane of the present, represents the archetype of the mother-Earth set in the middle ground between past and future.
Gianfranco, like Odysseus, 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 before the complexity of a world he created, the technological one, which is slipping away from him and he feels the need to return to where he started. Thus the cyclicity returns, where the journey is this eternal call to life and death. We must return to the starting point to rediscover ourselves, and the female figure becomes a symbol of she 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 followed by return. When looking to the future there is nothing left but to turn our gaze to the past to not lose our roots, to not let ourselves be dehumanized by the technological and post-technological world.
Every journey puts rationality and emotions on the same plane, it raises doubts and fears, daily times distort and take on different meanings.
Going toward the future becomes a challenge, captured in the female gaze, but also a danger because it is almost a loss of identity. When starting, one must face separation from the “old self,” made of habits, roles and certainties. Departing is freedom anyway, and even if this freedom is limited because it faces the unknown, it manages to bring order to the past. The moving perspective becomes centrifugal and centripetal; the expansion flow is the direction one is heading, while the contraction center is the direction from which one comes, and in Zenerato’s works one senses this coming-from-somewhere and heading-to-somewhere. At the center the female figure as a reference point: it is the artist’s consciousness, the heart of going, with its rhythms, noises, times, difficulties, discoveries and emotions.
The future time plane representing arrival is, in some works, dehumanized, and the female figure is almost crumbled because the artist himself does not recognize himself in such 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 the technological ones.
It becomes essential, then, to protect oneself from this advancing future, dangerous and almost uncontrollable, and to take refuge in something known and ancient where even “illusions are real.”
With Gianfranco Zenerato we truly have the opportunity 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 while awaiting a different image of ourselves. We may find our essence, realize the relativity of values and of points of view, ours and others. We may lose ourselves and then find ourselves again, realizing a common nature, destiny, and identity. (Gaetana Foletto)

The artist, starting from classical pastiche with a language of pre-abstract figurative, on the background of his internal historicizing cosmos widens the movable cursor of his emerging developmental consciousness, up to the extreme emergencies 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 present even technologically. His modernity is genuinely psychological and an intensive expression of his expressive charge of variables of late 20th-century Neo-avant-garde citational, with Caravaggesque perspective overlaps ... and modern psychology of post-Renaissance extraction (Rembrandt ...). Zenerato has wide historical creative potential, knowing how to poetically combine it, assembling, making the lyric guitar of the soul’s poetry vibrate on the coordinates of art history in universal values, and in the cadence of his infinite imaginative evolution, through the hyperrealism of his visionary dream, a window opened summed to reason, dialoguing with the present. (Prof. Alfredo Pasolino)

Very interesting his research: the figuration achieves scenographic effects in a space where a symbolic frequency vibrates, entrusted to the dream, to myth, or to daily reality, all harmonized by a splendid chromatic play.

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 express 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 speak of the rich and innovative painting of artist Gianfranco Zenerato, and this is because through that simple sentence a great truth is told: in painting, almost everything has been done, and today the artist who seeks to conquer his own individuality, without letting himself be influenced by currents and Masters of the past, must overcome enormous obstacles, because as Morandi also said, “There is nothing or very little new in the world,” and therefore to be original one should paint taking into account 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 ones who, able to see what others often do not perceive, manage to transform 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 one must surely count Maestro Zenerato, a highly talented artist, who makes meticulousness, rigor and fantasy one painting style that, although recalling masters of the past, demonstrates that the artist has learned from the lessons of fine painting, stealing from the greats a flawless technique, presents a uniqueness and a visible individuality in that touch of elegant modernity present in every single creation, making him a rare bird in the national artistic panorama.
Borders of flowers and ripe, lush fruit, laid against high marble walls worn by time and often smeared with the amorous drawings of two young lovers, intertwine with objects of modern daily life, such as a CD-ROM, a computer mouse, a spatula, which become a link between past, present and future; the surrounding landscape, almost always captured at dusk when the green ray salutes the sun and welcomes the moon, emerges even more vividly what Zenerato brands on the marble boards in the foreground, where a color increasingly vivid stands out spanning red, yellow, green, and all the warmer tones of the rainbow.
And the rainbow seems to overshadow the career of this young and promising artist, a prose-writer of art because he creates a style that is initially poetic and then painterly, with which he can represent what he feels filtering the ugliness and negativity that our world carries.

Critics who have written about him or judged his works:

Paolo Levi, Paolo Rizzi, Giammarco Puntelli, Giorgio Grasso, Sergio Capellini, Pietro Gasperini, Francois Buisson, Ruggero 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