Gianfranco Zenerato - THE LAST LIGHT

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Gianfranco Zenerato (Professional Artist - Italy)

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

“The Last Light” portrays a female figure suspended in a cold era, where the city behind is reduced to shards of a lifeless system. The protagonist remains: presence and memory beyond the collapse. The work does not tell the end, but what persists when everything ceases, defining a mental space and guarding a fragment of our time.
Owning it means bringing home not just a work, but a symbol of the present destined to become increasingly relevant.

International Archival Certificate - Certificate of authenticity signed by the author - File containing the artist’s professional journey
Hand-painted unique work - total dimensions including frame 42.5x33x5 cm - acrylic on canvas - 2026
Ready to hang - Splendid high-quality wood frame LARSON-JUHL RUBENS, an internationally recognized brand for refined and durable frames.

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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 recognition for the quality of his works. With over 500 prizes to his name, his creations enrich notable public and private collections in Italy, Europe, America and Asia. He has exhibited beside 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 to Western society. While Milanese Antonio Recalcati and Roman Franco Mulas expressed social anger, Zenerato carries a poignant warning, where humanity’s defeat can also represent the threshold of secular redemption. It is a vision dense with symbolic meanings, of a painter from the modern school who skillfully harmonizes research with experimentation. (Paolo Levi)

One notices from this emblematic image a kind of invitation to meditate on the beauty of 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 distracts us from the dream. (Paolo Levi)

In this unsettling yet explicit visual message, the dialogue between color economy and the harmony of forms testifies to expressive tension and the mastery of a skilled artist. Interesting and original 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 fanciful constructions could thus confuse critical judgment in defining him as a surrealist. That is not accurate, because he does not present an absurd and unreal imagination, 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 a 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 plays with symbols and allusions and enjoys confusing the interpretive coordinates of what could be the weave of a story camouflaged as unreality. (Salvatore Russo)

With Gianfranco Zenerato we have an excellent idea, transformed with great capacity into what is a figure of anticipation, where modernity meets a time that no longer exists to reconnect us with feelings… (Giammarco Puntelli)

The author relies on overlap and intersection of genres, on an incisive allusive and metaphorical research in subjects and colors. With a brilliant intuition he unifies past (still life), present (the female image) and future (symbolism, cryptic writing ...) so that the work becomes an artistic yet also literary and meta-narrative paradigm. He 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 — remains an original discipline. The artist’s creativity thus reaffirms — also thanks to the vibrant chromatics — how the approach tied to the genre still has 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, over the years, placed his vision in a present that “looks” to the past as an ideal but now lost world, and a future full of artificial and artificial contaminations.
It is a warning and a caution the message that emerges from the elements arranged on the canvas surrounding his overall vision. The fixed “battery” element tells us “attention,” time is running 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) emphasize how important it is not to sever the bond with the past, with a world where nature was predominant.
The female element, located on the present temporal plane, 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 of his own making, the technological one, which is slipping from his grasp and he feels the need to return to where he started. Thus the cyclicity returns in which the journey is this eternal appeal to life and death. We must return to the starting point to find ourselves again, and the female figure thus becomes the 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 echo, this departure and return. When looking to the future we can only turn our gaze to the past to not lose our roots, not to be dehumanized by the technological and post-technological world.
Each journey places rationality and emotion on the same plane, raises doubts and fears, the times of daily life 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. Departing means facing separation from the “old self,” made of habits, roles and certainties. Departing is still freedom, even if limited because one faces 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 axis of contraction is the direction from which one comes, and in Zenerato’s works one has this sense of origin from one place and direction toward another. 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 temporal plane that represents arrival is, in some works, dehumanized, and the female figure is almost eroded because the artist himself does not recognise himself in such a placement: it is as if the loss of identity were a disconsolate resignation to the loss of connection with the past, and even the still-life elements become, in some cases, almost absent and eclipsed by technological ones.
It becomes fundamental, then, to protect ourselves from this dangerous and almost uncontrollable future, and seek 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 ourselves reflected in a mirror. Departing with him will mean momentarily dimming those mirrors while awaiting the discovery of a different image of ourselves. We may find our essence, realize the relativity of values and viewpoints of ourselves and others. We may get lost and then find ourselves again, becoming aware of a common nature, destiny, and identity. (Gaetana Foletto)

The artist, starting from classic pastism with a language of pre-abstract figuration, within the backdrop of his interior historical universe moves the movable cursor of his evolving consciousness, reaching the extreme urgencies of the present, subjugating his learned technique to the energy of dream, sign, symbol and especially the color, rich in clarity, and timbral purity, to interact with the present even technologically. His modernity is genuinely psychological and an expressive manifestation of his expressive charge of the trans-avant-garde citational school of late 20th century onward... with Caravaggesque perspective overlaps ... and modern psychology of post-Renaissance extraction (Rembrandt ...). Zenerato has broad creative potential historically, knowing how to poetically combine them, assembling, making the harp of the soul’s poetry vibrate on the coordinates of art history in universal values, and in scanning 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: figurative reaches scenic effects in a space where a symbolic frequency vibrates, entrusted to dream, myth, or 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 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 the artist Gianfranco Zenerato, and this because through that simple phrase a great truth is told, namely that in painting everything has been done and today the artist who seeks to conquer his own individuality, without being influenced by currents and Masters of the past, must overcome enormous obstacles because as Giorgio Morandi also argued, “There is nothing or very little new in the world,” and therefore to be original one should paint bearing in mind 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 creating is a gift that God has granted only to a few elect who, able to see 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 grays of the world around us.
Among these fortunate ones we must surely count Maestro Zenerato, a talented artist like few, who makes minutiae, rigor and fantasy a painting style that, although recalling past Masters, proves that the artist has benefited from the lessons of beautiful painting by stealing from the greats an impeccable technique, presents a uniqueness and an visible individuality in that touch of elegant modernity present in every single creation, which makes him a rare exception in the national art panorama.
Stems of flowers and ripe, lush fruit, laid on tall marble walls worn by time and often smeared with 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 salutes the sun and welcomes the moon, emerges with even greater vigor what Zenerato bans on the marble panels in the foreground, where a color increasingly vivid stands out ranging from red, to yellow, to green, and to 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 first poetic and then pictorial, with which he manages to represent what he feels by filtering the ugliness and negativity 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, 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