Gianfranco Zenerato - POST - TECHNOLOGICAL LANDSCAPE

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GIANFRANCO ZENERATO (Professional Artist - Italy)
• Active since 1990, with over 600 participations in national and international art events.
• Recognized for the high quality of his works, with over 500 prizes awarded.
• Present in public and private collections in Italy, Europe, America and Asia.
• Has exhibited next to masters such as Antonio Nunziante, Athos Faccincani, Alfonso Borghi, Giuseppe Menozzi, Giampaolo Talani, Saturno Buttò, etc.
• Reviewed by leading Italian critics.

Unique hand-painted piece
International Archive Certificate - Certificate of authenticity signed by the author - File containing the artist’s professional trajectory - Dimensions 60x60x4 cm - Acrylic on canvas mounted on gallery-stretched canvas - 2025
Ready to hang - NO FRAME REQUIRED

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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 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 industry experts:

Gianfranco Zenerato belongs to that current 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 poignant warning, where humanity’s defeat can also signify the threshold of secular redemption. This is a vision rich in symbolic meaning, of a modern-school painter who skillfully 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 grey world, the contemporary one, which diverts us from dreaming. (Paolo Levi)

In this disturbing yet explicit visual message, the dialogue between chromatic essentiality and harmonic form testifies to expressive tension and the mastery of a knowledgeable artist. Interesting and novel is the blend of flowers, fruits and contemporary technological objects. (Stefania Bison)

Gianfranco Zenerato develops sign-based narratives that reveal, step by step, the infinite possibilities of a fertile imagination, organized according to ordered sequences of his mental elaborations. His fanciful constructions could confuse critical judgment in calling him a surrealist. This is not accurate, as he does not present an absurd or unreal imaginary, but rather paints a reality familiar to us, with a communicative and highly symbolic purpose. (Sandro Serradifalco)

This Gianfranco Zenerato painting is technically well-structured, finely and richly articulated, and proposes reality built by the mind of a visionary. His works feature a strong scenographic element, 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 interpretive coordinates of what could be a tale dressed in unreality. (S. Russo)

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

The author emphasizes overlapping and intersecting genres, in a search that is allusive and metaphorically incisive in subjects and colors. With a brilliant intuition he unifies past (still life), present (the feminine image) and future (symbolism, cryptic writing...) so the work becomes an artistic and literary paradigm and meta-narrative. He presses the painter to discover a new visual universe, probing the limits of traditional iconography to demonstrate how painting today — amid so much noise — remains an original discipline. The artist’s creativity, then, reinforces — thanks also to radiant chromatic tones — that the genre-based approach still has rightful citizenship in 21st-century painting.

Zenerato’s painting guides us to a three-tier vision of reality. It is a journey through time, as the artist, through various experiments, has positioned his vision in a present that “looks” to the past as an ideal but already lost world, and to a future full of artificial and feigned contaminations. It is a warning and an admonition that emerge from the elements on the canvas surrounding his overall vision. The constant “drumbeat” element tells us to beware, 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 female element, placed on the present temporal plane, 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 has created, the technological one, which is slipping from his grasp and makes him feel the need to return to where he started. Thus 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 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 Gianfranco Zenerato undertakes there is this temporal circular reference, this departure and return. When looking to the future, we can only turn our gaze to the past to not lose our roots, to not be dehumanized by the technological and post-technological world.
Each journey places rationality and emotion on the same plane, giving rise to doubts and fears, and the everyday times 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. Departing means facing separation from the “old self,” made of habits, roles and certainties. Departing is freedom anyway, even if limited because one meets 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 focal point of contraction is the direction from which one comes, and in Zenerato’s works one senses this coming-from-a-place and moving-toward-another. In the center is the female figure as a point of reference: it is the artist’s conscience, the heart of the going, with its rhythms, noises, times, difficulties, discoveries and emotions.
The future’s temporal plane that represents arrival is, in some works, dehumanized, and the female figure is almost crumbled because the artist himself does not recognize himself in such a placement: it is as if the loss of identity were a disconsolate resignation to losing ties with the past, and even the elements of still lifes become, in some cases, almost absent and overwhelmed by the technological ones.
It becomes essential, then, to protect ourselves from this future, which advances perilously and almost uncontrollably, and to seek 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 ourselves 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, realize the relativity of values and of points of view—ours and others. We might get lost and then find ourselves again, realizing a common nature, destiny, and identity. (Gaetana Foletto)

The artist, starting from classic pasticism with a language of pre-abstract figurative form, within the internal historicizing cosmos expands the movable cursor of his developing consciousness, up to the extreme emergencies of the present, subjugating his learned technique to the energy of dream, sign, symbol and especially color, rich in clarity and timbral purity, to interact with the present also technologically. His modernity is truly psychological and an intensive expression of his expressive power derived from postmodernist trans-avant-garde citational references since the late 20th century, with Caravaggesque-perspective overlaps and modern post-Renaissance psychology (Rembrandt, etc.). Zenerato possesses wide-ranging creative potential, know how to poetically combine it, assembling, making the lute of the poem of the soul 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 plus reason. dialoguing with the present. (Prof. Alfredo Pasolino)

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

The Artist of Rigor and Modernity
Edited by Francesco Cairone

The most original authors are not those who promote what is new, but those who 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 discuss the rich and innovative painting of Gianfranco Zenerato, and this because through that simple sentence one tells a great truth, namely that in painting everything has already been done and today the artist who seeks to conquer his own individuality, without letting himself be influenced by past currents and Masters, must overcome enormous obstacles because, as Giorgio Morandi also claimed, “There is nothing or very little new in the world,” 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 painting and creation 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 emanate from small things, from a gesture, a caress, a look, into vibrant tones that color the greyness of the world around us.
Among these lucky ones one must certainly count Master Zenerato, a talented artist who makes meticulousness, rigor and fantasy his painting style, which, although it recalls past Masters, proves that the artist has absorbed the lessons of beautiful painting, stealing an impeccable technique from the greats, presenting a uniqueness and an individuality visible in that touch of elegant modernity present in every single creation, making him a rare bird in the national artistic panorama.
Canopies of flowers and ripe, lush fruit, lying against tall walls of marble worn by the years and often daubed 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 seen at dusk when the green ray greets the sun and welcomes the moon, emerges even more strongly what Zenerato bans on the marble boards in the foreground, where a color growing ever more vivid ranges from red, to yellow, to green, and to all the warmer hues of the rainbow.
And the rainbow seems to overshadow the career of this young and promising artist, a proser of art because he creates a style that is poetic first 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, 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