Gianfranco Zenerato - ICON - XL

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

ADD THIS EXCLUSIVE PAINTING TO YOUR COLLECTION!!!

205 WORKS SOLD - 100% Positive - 77 Reviews
www.zenerato.com

Unique UNPUBLISHED piece of large size - 100% HAND-PAINTED ON JUTE CANVAS

Dimensions 81x91x2.5 cm

GIANFRANCO ZENERATO (Professional Artist - Italy)
• Active since 1990, with over 600 appearances at national and international art events.
• Recognized for the high quality of his works, with over 500 awards received.
• 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.

International Archival Certificate - Certificate of authenticity signed by the author - File containing the artist’s career
Large unique piece 100% hand-painted - Acrylic, metallic pigments on JUTE CANVAS already stretched on a wooden frame - Dimensions 81x91x2.5 - 2025
The frame painted by the artist is an integral part of the artwork - Ready to hang.

IMPORTANT NOTICE FOR BIDDERS OUTSIDE THE EUROPEAN UNION
Shipments to non-EU countries are possible, but due to complex bureaucratic procedures (ministry authorizations, customs formalities, 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 usual.
Thank you for 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 by well-known sector experts:

Gianfranco Zenerato belongs to that strand of 1970s artists, stern messengers to Western society. While Milanese Antonio Recalcati and Roman Franco Mulas expressed social anger, Zenerato, instead, carries a poignant warning, where man’s defeat may also represent the threshold of secular redemption. It is a vision dense with symbolic meaning, of a painter from a modern school, who talentfully reconciles research with experimentation. (Paolo Levi)

You notice 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, that distracts us from the dream. (Paolo Levi)

In this disturbing yet explicit visual message, the dialogue between chromatic essentiality and the harmony of forms testifies to expressive tension and the mastery of a skilled artist. Interesting and original is the mix 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 imaginary, organized according to ordered sequences of his mental elaborations. His fantastical constructions could therefore confuse critical judgment in defining him as a surrealist. This is not accurate, as he does not present us with an absurd 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 the reality built by the mind of a visionary. His works have a strong scenographic 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 in unreality. (S. Russo)

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

The author relies on overlay and intersection of genres, on an incisive allusive and metaphorical exploration in subjects and colors. With a devastating intuition he unifies past (still life), present (the female image) and future (symbolism, cryptic writing ...) so that the work becomes both an artistic and literary and metanarrative paradigm. The painter is pressed to identify a new visual universe, to explore the limits of traditional iconography to demonstrate how painting today — amid so much noise — remains an original discipline. The artist’s creativity reaffirm, then — thanks also to the brilliant color schemes — that the approach tied to the genre still has full 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 come over the years to place his vision in a present that “looks” to the past as an ideal but lost world, and a future full of artificial and artificial contaminations.
It is a warning and a notice 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 expire, and the strong reference 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 was predominant.
The female element, placed on the plane of the present, represents the mother-Earth archetype placed in the middle ground between past and future.
Gianfranco, like an Odyssey, 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 in the face of the complexity of a world he created, the technological one, which is slipping away from him, and 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 death. We will have to 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 departing and then returning. When looking to the future there is nothing left but to turn our gaze to the past in order not to lose our roots, not to let ourselves be dehumanized by the technological and post-technological world.
Every journey places rationality and emotions on the same level, arouses doubts and fears, the times of daily life distort and take on different meanings.
Going toward the future becomes a challenge, captured in the feminine 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 still freedom, and even if this is limited because we go 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 focus of contraction is the direction from which one comes, and in Zenerato’s works one has this sense of coming from one place and moving 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 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 resigned acceptance of losing ties with the past, and even the elements of still lifes become, in some cases, almost absent and overwhelmed by those of the technological world.
It becomes essential, therefore, to protect oneself from this future, which advances dangerously and almost uncontrollably, 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, realize the relativity of values and viewpoints, ours and others’. We may lose ourselves and then find ourselves again, becoming aware of a common nature, a common destiny, a common identity. (Gaetana Foletto)

The artist, starting from classical pasticism with a language of pre-abstract figurative, within the backdrop of his inner historicizing cosmos, spans the movable cursor of his emerging conscious development, up to the extreme urgencies of the present, subjecting his learned technique to the energy of dream, sign, symbol and especially color, rich in clarity and timbral purity, to interact with the present even in its technological form. His modernity is genuinely psychological and an intensive expression of his expressive charge of the trans-avant-garde citational movement from the late 20th century onward... with Caravaggesque perspective overlays... and modern psychology of post-Renaissance extraction (Rembrandt...). Zenerato has broad creative potential, poetically combining them, assembling, making the strings of the soul’s poetry vibrate on the coordinates of art history in universal values, and on the cursor of his infinite imaginative evolution, through the hyperrealism of his visionary dream, a window opened in addition to reason. dialoguing with the present. (Prof. Alfredo Pasolino)

Very interesting his research: figurative reaches scenographic 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 present what they have to say in a way that makes it seem as if 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 being influenced by currents and Masters of the past, 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 taking into account 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 before 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 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 certainly count Maestro Zenerato, a talented artist who makes meticulousness, rigor and imagination a painting style that, although recalling past Masters, shows that the artist has learned from their lessons and has adopted a flawless technique, presents 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 scene.
Bouquets of flowers and ripe, lush fruit rest on high marble walls worn by the years and often smeared with amorous drawings of two young lovers, intertwining with objects of modern daily life, such as a CD-ROM, a mouse, a spatula, which become a link 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 more vigor what Zenerato banishes on the marble boards in the foreground, where a color that becomes ever more vivid stands out, ranging from red to yellow to green and all the warmer tones of the rainbow.
And the rainbow seems to overshadow the career of this young and promising artist, prosodist of art because he creates a style that is first poetic and then pictorial, with which he represents what he feels by filtering the ugliness and negativities that our world carries.

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