Gianfranco Zenerato - ICON

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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.
• 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.

"ICON" is a visual reflection on the sacredness of technology. The everyday object, a mouse, is sublimated into a relic of digital thought, 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 an image of reverence: the icon of our connected time.
Owning ICON means safeguarding a fragment of the most authentic contemporaneity: a work that unites aesthetics, reflection and technological memory. A painting destined to become a testimony of our passage from the analog man to the digital man.

International Archival Certificate - Certificate of authenticity signed by the author - Dossier containing the artist’s professional path
Unique piece 100% HAND-PAINTED - total dimensions including frame 38x38x3 cm - acrylic, metallic colors on canvas - 2026
Ready to hang - Stunning baroque wooden frame of high quality prepared artisanally

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GIANFRANCO ZENERATO (Professional Artist - Italy)
Active since 1990, he has undertaken 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 prizes 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 falls into that stream of artists from the seventies, stern messengers to Western society. While Milanese Antonio Recalcati and Roman Franco Mulas expressed social anger, Zenerato in contrast bears a poignant warning, where the defeat of man can also represent the threshold of a lay redemption. It is a vision dense with symbolic meanings, of a painter of 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 a still life, of a flower and of 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 inquietant 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 mixture of flowers, fruits and contemporary technological objects. (Stefania Bison)

Gianfranco Zenerato elaborates sign- 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 as a surrealist. This is not correct, as he does not propose an absurd unreal imaginary, but rather paints a reality familiar to us, with a highly symbolic communicative purpose. (Sandro Serradifalco)

This painting by Gianfranco Zenerato is technically well structured, finely and richly articulated, and proposes reality constructed 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 indeed plays with symbols and allusions and enjoys confusing the interpretive coordinates of what could be the plot of a story camouflaged in unreality. (Salvatore Russo)

With Gianfranco Zenerato we have an excellent idea, transformed with great skill into a depiction of anticipation, where modernity meets a time that no longer exists to re-encounter the emotions... (Giammarco Puntelli)

The author relies on overlaying and intersecting genres, on an allusive and incisive metaphorical search in subjects and colors. With a sudden insight he unifies past (still life), present (the female image) and future (symbolism, cryptic writing ...) so that the work becomes an artistic but also literary and metanarrative paradigm. He presses the painter to identify a new visual universe, to explore the limits of traditional iconography to prove how painting today — amid so much noise — remains an original discipline. The artist’s creativity then reiterates — thanks also to the vibrant chromies — how the approach tied to the genre still has a rightful place in 21st-century painting.

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 located his vision in a present that “looks” to the past as an ideal world, but now lost, and a future full of artificial and artificial contaminations.
It is a warning and an admonition the message that emerges from the elements placed on the canvas surrounding his overall vision. The “battery” we find as a fixed element is telling us “watch out,” 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 link 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 the mother-Earth set 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 he realizes his own fragility before the complexity of a world he created, that technological world that is slipping from his hands and he therefore feels the need to return to where he started. Thus the cyclicity returns where the journey is this eternal call to life and death. We must return to the starting point to find ourselves and the female figure 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 temporal circular reference, this departing and then returning. When looking to the future we can only turn our gaze to the past to not lose our roots, to not let ourselves be dehumanized by the technological and post-technological world.
Each journey puts rationality and emotions on the same plane, raises doubts and fears, daily time distorted and taking on different meanings.
Moving toward the future becomes a challenge, captured in the female gaze, but also a danger because it is almost a loss of identity. To depart 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 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 heading, while the focus of contraction is the direction from which one comes and in Zenerato’s works you have this sense of coming from one place and heading toward another. At the center 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 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 place: it is as if the loss of identity were a desolate resignation to the loss of 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 fundamental, then, to protect ourselves from this advancing future, which progresses 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 ourselves reflected 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, become aware of the relativity of values and of our own and others’ points of view. We may get lost and then find ourselves again, realizing a common nature, a shared destiny, a common identity. (Gaetana Foletto)

Starting from classical pastism with a language of pre-abstract figurative, against the backdrop of his inner historicizing cosmos, the mobile cursor of his evolving consciousness wanders to the utmost emergencies of the present, subjugating his learned technique to the energy of dream, sign, symbol and especially the color, rich in clarity, and tonal purity, to interact with the present even technologically. His modernity is truly psychological and an intensive expression of his expressive charge of the transavant-garde citationally of late 20th century onward... with Caravaggesque perspective overlaps ... and modern psychology of post-Renaissance extraction (Rembrandt ...). Zenerato has wide 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 in scanning along 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: the figuration achieves scenic effects in a space where a symbolic frequency vibrates, entrusted in turn to dream, to myth, or to daily 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 express what they have to say in a way that seems it has never been said before.
(Gothe)

It is necessary to start from Goethe’s striking sentence to talk about the rich and innovative painting of artist Gianfranco Zenerato, and this because through that simple sentence one tells a great truth, namely that in painting almost everything has been done and today the artist who seeks to conquer his own individuality, without being influenced by currents and by the 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 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 by 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, from a caress, from a look, into vibrant tones that color the grayness of the world around us.
Among these lucky ones we must surely count Master Zenerato, a talented artist who makes meticulousness, rigor and fantasy one painting style that, although it recalls the minds of past Masters, shows that the artist has learned the lessons of beautiful 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, which makes him a rare bird in the national artistic panorama.
Vases of flowers and ripe, lush fruit, laid against high marble walls worn by time and often defaced by 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 a linking ring 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 bans on the marble boards in the foreground, where a color increasingly vivid stands out ranging from red, to yellow, to green, and to 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 initially poetic and then painterly, with which he can represent what he feels filtering ugliness and negativity that our world carries with it.

People who 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 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