Gianfranco Zenerato - ICON

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Over 180 collectors have purchased Gianfranco Zenerato's works on Catawiki.

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208 WORKS SOLD - 100% Positive - 78 Reviews

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One-of-a-kind PIECE 100% HAND-PAINTED
(Painting with luminescent colors)

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.
• Present in public and private collections in Italy, Europe, America and Asia.
• Has exhibited beside masters such as Antonio Nunziante, Athos Faccincani, Alfonso Borghi, Giuseppe Menozzi, Giampaolo Talani, Saturno Buttò, etc.
• Critically reviewed by leading Italian critics.

International Archival Certificate - Certificate of authenticity - File containing the artist’s professional trajectory
One-of-a-kind PIECE 100% HAND-PAINTED - total dimensions including frame 33.5x33.5x6.5 cm - acrylic, metallic pigments and luminescent varnishes - 2026
Ready to hang - Beautiful wooden frame included in the lot (as in the photo).

"ICON" is a visual reflection on the sacrality of technology. The everyday object, a computer mouse, is sublimated into a relic of digital thought, at the center of a chromatic energy that vibrates like an aura. The painting material 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 a cult image: the icon of our connected time.
Owning ICON means guarding a fragment of the most authentic contemporaneity: a work that blends aesthetics, reflection, and technological memory. A painting destined to become a testimony of our passage from the analog to the digital human.

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GIANFRANCO ZENERATO (Professional Artist - Italy)

Active since 1990, he has undertaken 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, 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 of the innumerable reviews by well-known experts in the art world:

Gianfranco Zenerato belongs to that current of 1970s artists, stern messengers to Western society. While Milanese Antonio Recalcati and Roman Franco Mulas expressed social anger, Zenerato, on the contrary, bears a poignant warning, where the defeat of man can also represent the threshold of secular redemption. It is a symbolism-filled vision by a modern-school painter who, with talent, reconciles research with experimentation. (Paolo Levi)

One perceives 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 unsettling yet explicit visual message, the dialogue between chromatic essentiality and 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 fanciful constructions could thus confuse critical judgment in defining him a surrealist. This is not accurate, as he does not propose an absurd, unreal imaginary, but rather paints a reality familiar to us, with a communicative and highly symbolic purpose. (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 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 allusions and enjoys confusing the interpretive coordinates of what could be the weave of a story camouflaged as 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 restore our feelings... (Giammarco Puntelli)

The author emphasizes overlap and intersection of genres, on a research that's allusive and metaphorically incisive in subjects and colors. With a dazzling insight, he unifies past (still life), present (the female image), and future (symbolism, cryptic writing ...) so that the work becomes an artistic, literary, and metanarrative paradigm. The painter should identify a new visual universe, probe the limits of traditional iconography to demonstrate how painting today — amid much noise — remains an original discipline. The artist’s creativity, then, reinforced by vivid colors, confirms that the genre-based approach still has a rightful place in 21st-century painting.

Zenerato’s painting leads us to a three-level vision of reality. It is a journey through time that the artist invites us to undertake, having through experiments placed his vision in a present that looks to a past as an ideal but long-lost world, and a future full of artificial and artificial contaminations.
It is a warning and forewarning the message that emerges from the elements arranged on the canvas that surround his overall vision. The fixed “drum” element says “pay attention,” time is running out, and the strong call of natural elements 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 prevailed.
The female element, placed on the temporal plane of the present, represents the archetype of Mother-Earth set in the middle ground between past and future.
Gianfranco, like Ulysses, 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 — that is slipping away from him, and he feels 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 find ourselves again, and the feminine figure thus becomes the 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 temporal circular echo, this departure and then return. When looking to the future, we can only turn our gaze to the past to not lose our roots, not let ourselves be dehumanized by the technological and post-technological world.
Each journey places rationality and emotions on the same level, raises doubts and fears, daily times distort and take on different meanings.
Going toward the future becomes a challenge, captured in the gaze of the feminine, but also a danger because it is almost a loss of identity. To depart means facing separation from the “old self,” made of habits, roles and certainties. Departing is 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 flux 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 you feel this sense of coming from one place and heading toward another. At the center is the female figure as a reference point: it is the artist’s consciousness, the heart of the journey, 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 eroded because the artist himself does not identify with that 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 overwhelmed by technological ones.
Thus it becomes essential to protect oneself from this future, advancing dangerously and almost uncontrollably, and to retreat to 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 points of view, ours and others. We may get lost and then find ourselves again, realizing a common nature, destiny, and identity. (Gaetana Foletto)

The artist, starting from classical pastism with a language of pre-abstract figurative art, within the backdrop of his inner historicizing cosmos, moves the movable cursor of his developing consciousness, up to 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 engage with the present even technologically. His modernity is genuinely psychological and an intensive expression of his expressive charge of the postmodern transavant-garde citational value from the late 20th century onward... with Caravaggesque perspective overlays ... and modern psychology of post-Renaissance extraction (Rembrandt ...). Zenerato has broad creative potential historically, skillfully combining it poetically, assembling, making the lyre of the soul’s poetry vibrate on the coordinates of art history in universal values, and scanning along the cursor of his infinite imaginative evolution, through the hyperrealism of his visionary dream, a window opened added to reason, engaging 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 dream, myth, or daily reality, all harmonized by a splendid chromatic game.

The Artist of precision 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 talk about the rich and innovative painting of Gianfranco Zenerato, and this is because that simple sentence tells a great truth: in painting, almost everything has been done, and today the artist who seeks to conquer his own individuality, without being swayed by currents and Masters of the past, must overcome enormous obstacles, for as Giorgio Morandi also asserted, “There is little or nothing new in the world,” and therefore to be оригинал 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 creating is a gift that God has granted to only 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, a caress, a look, into vibrant tones that color the dullness of the world around us.
Among these fortunate ones one must surely count Master Zenerato, a talented artist who makes minuteness, rigor, and imagination a painting style that, while recalling past Masters, demonstrates that the artist has learned from the lessons of fine painting and borrowed an impeccable technique, presenting a uniqueness and visible individuality in that touch of elegant modernity present in every single creation, making him a rare exception in the national art scene.
Flowers and mature, lush fruit are laid on high marble walls worn by time and often smeared with the amorous drawings of two young lovers, intertwining 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, usually captured at dusk when the green ray greets the sun and welcomes the moon, emerges with even greater vigor what Zenerato bans on the marble boards in the foreground, in which a color increasingly vivid stands out ranging from red, to yellow, to green, and all the warm 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 painterly, with which he can represent what he feels 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