Gianfranco Zenerato - PSYCHEDELIC MOUSE

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

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210 WORKS SOLD - 100% Positive - 80 Reviews

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Unique piece 100% HAND-PAINTED WITH OIL 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 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.

International Archiving Certificate
Unique piece painted 100% by hand - total dimensions including frame 47x58x3 cm - oil and sand on panel - 2023
Ready to hang - Splendid handcrafted Baroque wooden frame (as in photo)

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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, earning national and international awards 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 well-known art critic, Prof. Giammarco Puntelli.

Some of the countless reviews from well-known experts in the art world:

Gianfranco Zenerato belongs to that line 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 rich in symbolic meanings, of a painter from a modern school who, with talent, reconciles research and 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 gray world, the contemporary one, which detaches us from the dream. (Paolo Levi)

In this disturbing yet explicit visual message, the dialogue between chromatic essentialism and harmony of forms testifies to expressive tension and the mastery of a skilled artist. Interesting and original 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 imaginative constructions could thus confuse critical judgment in defining him as a surrealist. This is not correct, as he does not present an absurd or unreal imagination, but rather depicts 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 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 confounding interpretive coordinates of what could be the plot of a story camouflaged as unreality. (S. Russo)

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

The author focuses on overlap and intersection of genres, on a suggestive 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 that the work becomes an artistic and literary and metanarrative paradigm. He pushes the painter to find a new visual universe, to explore the limits of traditional iconography to demonstrate how painting today — amid much noise — remains an original discipline. The artist’s creativity thus reaffirms — also thanks to the vibrant chromatic hues — that the genre approach still has a right to citizenship in 21st-century painting.

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 over the years placed his vision in a present that “looks” to the past as an ideal but now lost world, and a future full of artificial and artificious contaminations.
It is a warning and a caution the message that emerges from the elements on the canvas surrounding his overall vision. The “drum” that we find as a fixed element tells us “attention,” time is about to expire, 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 mother-Earth archetype set in the middle ground between past and future.
Gianfranco, like an Odysseus, travels in this temporal dimension, in search of 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 created, the technological one, that is slipping away and thus feels the need to return to where he started. Thus, cyclicality returns in which the journey is this eternal call to life and death. We must return to the starting point to find ourselves, and the female figure then becomes a symbol of the one who allows us to be reborn.
The words "depart" and "beget" 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 then return. When looking to the future we are left with turning our gaze to the past to not lose our roots, to not let ourselves be dishumanized 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 female gaze, but also a danger because it is almost a loss of identity. Beginning means facing separation from the “old self,” composed of habits, roles and certainties. Departing is still freedom, and even if this is limited because one goes 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 one is heading, while the focal point of contraction is the direction from which one comes, and in Zenerato’s works one feels this sense of coming from a place and heading toward another. At the center the female figure as a reference point: 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 crumbling because the artist himself does not recognize himself in such a placement: it is as if the loss of identity were a desolate resignation to the loss of connection with the past, and even the elements of still life become, in some cases, almost absent and overwhelmed by those technological ones.
It becomes essential, then, to protect oneself from this future, which advances perilously and almost uncontrollably, and to retreat into something known and ancient where even “illusions are real.”
With Gianfranco Zenerato we truly have the opportunity 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 our own and others’ points of view. We may get lost and then find ourselves again, realizing a common nature, a destiny, and a shared identity. (Gaetana Foletto)

The artist starting from classical pastism with a language of pre-abstract figurative art, on the backdrop of his inner historicizing cosmos, moves the mobile 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 above all color, rich in clarity and timbral purity, to interact with the present even in a technological sense. His modernity is genuinely psychological and an intensive expression of his expressive charge of the transavanguardia iconic references of late 20th century onward... with Caravaggesque perspective overlays ... and modern psychology of post-Renaissance extraction (Rembrandt ...). Zenerato has wide historical creative potential, knowing how to poetically combine it, assembling, making the strings 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, dialoging with the present. (Prof. Alfredo Pasolino)

Very interesting his research: figuration reaches scenographic effects in a space in which a symbolic frequency vibrates, entrusted alternately to dream, myth, or everyday reality, all harmonized by wonderful 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 makes it seem 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 artist Gianfranco Zenerato, and this because through that simple phrase a great truth is told, namely that in painting 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 because as Giorgio Morandi also claimed, “There is little else new in the world,” and therefore to be original one should paint bearing 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 to only a few chosen ones 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 gaze, into vibrant tones that color the dullness of the world around us.
Among these lucky ones we must certainly include Maestro Zenerato, a highly talented artist whose meticulousness, rigor and imagination become a painting style that, though recalling past Masters, proves that the artist has learned from the lessons of fine painting, stealing from the greats an impeccable technique, 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.
Baskets of flowers and ripe, lush fruit, resting on tall marble walls worn by time and often daubed with 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 bridge 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 the element Zenerato stamps on the marble boards in the foreground, where a color ever more vivid ranges 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, a prose writer 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 negativity that our world carries.

People who 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