Gianfranco Zenerato - ICON

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

ADD THIS EXCLUSIVE PAINTING TO YOUR COLLECTION!!!

208 WORKS SOLD - 100% Positive - 80 Reviews

www.zenerato.com

Unique piece 100% HAND-PAINTED
(Painting with luminescent colors)

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 alongside masters such as Antonio Nunziante, Athos Faccincani, Alfonso Borghi, Giuseppe Menozzi, Giampaolo Talani, Saturno Buttò, etc.
• Reviewed by leading Italian critics.

International Archiving Certificate - Certificate of Authenticity - File containing the artist’s career path
Unique piece 100% HAND-PAINTED - overall dimensions including frame 33.5x33.5x6.5 cm - acrylic, metallized 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 sacredness of technology. The everyday object, a mouse, is sublimated into a relic of digital thought, a center of chromatic energy that vibrates like an aura. The painterly material becomes the language of digital 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 safeguarding a fragment of the most authentic contemporaneity: a work that combines aesthetics, reflection and technological memory. A painting destined to become a testament to our transition from analog man to digital man.

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

GIANFRANCO ZENERATO (Professional Artist - Italy)

Active since 1990, he has pursued 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 of the numerous reviews from well-known experts in the art scene:

Gianfranco Zenerato belongs to that school of artists of the seventies, stern messengers to Western society. While Milanese Antonio Recalcati and Roman Franco Mulas expressed social anger, Zenerato bears a poignant warning, where the defeat of man can also represent the threshold of secular redemption. It is a vision dense with symbolic meanings, of a painter from a modern school, who with talent reconciles research with experimentation. (Paolo Levi)

One notices in 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, that diverts us from dream. (Paolo Levi)

In this disturbing yet explicit visual message, the dialogue between chromatic essentiality and the harmony of shapes 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 symbolic 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 thus confuse critical judgment in defining him as a surrealist. This is not correct, because he does not present an imaginary and unreal world to us, but rather 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 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 indeed plays with symbols and allusions and enjoys confusing the interpretive coordinates of what could be the knot of a story camouflaged as unreality. (S. Russo)

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

The author focuses on the overlay and intersection of genres, on an insinuating and incisive metaphorical research into subjects and colors. With a brilliant intuition he unifies past (still life), present (the female image) and future (symbolism, cryptic writing ...) so the work becomes an artistic but 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 a original discipline. The artist’s creativity then reaffirms — thanks also to vibrant chromes — how the approach tied to the genre still has a rightful place in 21st-century painting.

Zenerato’s painting leads us to a view of reality operated on three levels. It is a journey through time that we take with the artist, who through various experiments has come to place his vision in the present that “looks” to the past as an ideal but now lost world, and a future full of artificial and deceitful contaminations. It is a warning and an admonition the message that appears 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 from 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, placed on the temporal plane of the present, 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 fragility before the complexity of a world he created, the technological one, which is slipping from his hands and feels, therefore, the need to return to where he started. Thus cyclicality returns, where the journey is this eternal call to life and death. We must return to the starting point to find ourselves, and the feminine 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 and return. When looking to the future we can only turn our gaze to the past to not lose our roots, to avoid being dehumanized by the technological and post-technological world.
Each journey places rationality and emotions on the same level, raises doubts and fears, the rhythms of daily life 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. 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 face the unknown, it manages to bring order to the past. The moving perspective becomes centrifugal and centripetal; the flow of expansion is the direction we are going, while the focus of contraction is the direction from which we come, and in Zenerato’s works one feels this sense of coming from a 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 representing arrival is, in some works, dehumanized, and the female figure is almost crumbled because the artist himself does not recognize in such a placement: it is as if the loss of identity were a disconsolate resignation to the loss of ties with the past, and even the elements of still lifes become, in some cases, almost absent and overpowered by technological ones.
It becomes essential, then, to protect oneself 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 our own reflection in a mirror. Departing with him will mean momentarily darkening those mirrors in anticipation of discovering a different image of ourselves. We will perhaps 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 classic pastism with a language of figurative pre-abstract, on the background of his inner historicizing cosmos widens the moving cursor of his evolving 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 even technologically. His modernity is genuinely psychological and an intensive expression of his expressive charge of transavant-garde citational from late 20th century onwards... with Caravaggesque perspective overlaps... and modern psychology of post-Renaissance origin (Rembrandt...). Zenerato has broad creative potential, poetically combining it, assembling, vibrating the lyre of the soul’s poetry 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 added to reason. conversing with the present. (Prof. Alfredo Pasolino)

Very interesting is his research: figure painting achieves scenic effects in a space where a symbolic frequency vibrates, entrusted alternately 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 so because they promote what is new, but because they present 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 Gianfranco Zenerato, and this is because through that simple phrase a great truth is told: in painting, almost everything has already 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, 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 has the right to be moved by a masterpiece, but painting and creating is a gift that God has granted only to a few chosen 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 dullness of the world around us.
Among these fortunate ones one must surely count Maestro Zenerato, a talented artist who makes meticulousness, rigor and fantasy one painting style that, although it recalls past masters, proves that the artist has learned from the lessons of fine painting, stealing from the greats an impeccable 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 panorama.
Could be flowers and ripe fruit on high marble walls worn by time and often vandalized with romantic drawings of two young lovers, intertwined with objects of modern daily life, like a CD-ROM, a mouse, a spatula, which become the 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 even more strongly what Zenerato banishes on the marble tablets in the foreground, where an ever more vivid color range runs from red, to yellow, to green, and to all the warmest tones 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 first poetic and then pictorial, with which he can represent 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 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