Gianfranco Zenerato - ICON

OPPORTUNITIES FOR ART COLLECTORS AND INVESTORS

Among the most appreciated contemporary artists and fastest-growing on Catawiki, Gianfranco Zenerato has already earned the trust of over 180 international collectors.

ADD TO YOUR COLLECTION AN EXCLUSIVE AND DISTINCTIVE WORK THAT CAN ENHANCE THE PRESTIGE OF YOUR ART ESTATE!

- 211 works sold
- 100% positive feedback
- 82 certified reviews

www.zenerato.com

Unique piece 100% HAND-PAINTED on luxurious black velvet - glows in the dark

WHY COLLECT A WORK BY GIANFRANCO ZENERATO

✓ Over 35 years of professional career
Active since 1990, Gianfranco Zenerato has developed over time a personal, recognizable artistic language appreciated by collectors and art critics.

✓ More than 600 exhibitions and artistic events
A constant presence in the national and international art scene, built through decades of exhibition activity.

✓ Over 500 awards and recognitions
An artistic path acknowledged by institutions, critics and cultural organizations that have recognized its value and quality.

✓ Works present in private and public collections
His paintings are part of collections in Italy, Europe, America and Asia, confirming international interest in his work.

✓ Valued by specialized critics
His artistic research has been analyzed and presented by authoritative critics and art historians, including Paolo Levi, Giammarco Puntelli, Sandro Serradifalco, Giorgio Grasso and many other professionals in the field.

✓ A unique and immediately recognizable style
Zenerato's works combine figurative tradition, symbolism and contemporaneity. Each painting tells a story and invites the viewer to a personal and ever-new reading.

✓ Works executed with high technical quality
Great attention to detail, compositional balance and chromatic intensity make each piece visually striking and collectible.

✓ Not mere decoration
Each work stems from a research path developed over more than three decades of professional activity and represents a synthesis of the artist's vision.

An opportunity for the collector

Acquiring a Gianfranco Zenerato work means obtaining an original piece created by an artist with a long documented career, hundreds of recognitions and a strong presence in international collections.

A piece designed not only to be admired today, but to maintain its artistic, cultural and collectible value over time.

International Archival Certificate - Certificate of Authenticity - Dossier containing the artist's professional journey
Unique piece painted 100% by hand - total dimensions including frame 36x42x5 cm - acrylic and luminescent colors on luxurious black velvet - the painting glows in the dark - 2025
Ready to hang - Splendid hand-crafted high-quality wooden frame
(Modern icons series)

ICON is more than a work: it is a visual archetype, a contemporary relic that transforms the mouse - a daily object - into a sacred symbol, a totem of our time.
Deep in the black velvet background, acrylic and luminescent colors explode like electric impulses, signals between mind and machine.
Each gesture is tension between instinct and control, between chaos and form, between human and digital.
The work does not describe, it evokes. It does not represent, it transmits. Here, matter becomes language and the object transfigures into an icon.
Buying ICON means entering into contact with a magnetic and living symbol.
It is a work that is not merely contemplated but experienced. It is not possessed, but possesses you.
Whoever chooses it makes a radical gesture: seizes a fragment of the present and transforms it into living memory.
ICON looks at you. It calls you. It welcomes you.

IMPORTANT NOTE FOR BIDS OUTSIDE THE EUROPEAN UNION
Shipping to non-EU countries is possible, but due to the complex bureaucratic procedures (ministerial authorizations, customs formalities, 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 usual.
Thank you for your understanding.

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 awards to his name, his creations enrich prominent 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 field:

Gianfranco Zenerato belongs to that current of 1970s artists, stern messengers toward Western society. While Milanese Antonio Recalcati and Roman Franco Mulas expressed social anger, Zenerato brings a poignant warning, where humanity's defeat may also represent the threshold of a secular redemption. It is a vision dense with symbolic meanings, from a modern school painter who with talent blends research with 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 that distracts us from the dream. (Paolo Levi)

In this unsettling yet explicit visual message, the dialogue between chromatic essentialism and the harmony of forms testifies to expressive tension and the mastery of a wise artist. Interesting and original is the mix of flowers, fruits and contemporary technological objects. (Stefania Bison)

Gianfranco Zenerato develops sign- 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 exact, for he does not present us with an absurd and unreal imaginary, but, on the contrary, 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 probe these messages remain to decipher what meaning the author attributed to them. He indeed plays with symbols and allusions and enjoys confusing interpretative 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 anticipation, where modernity meets a time that no longer exists to rekindle our feelings... (Giammarco Puntelli)

The author relies on overlaying and intersecting genres, on an incisive allusive and metaphorical research in subjects and colors. With a stunning intuition, 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 probe the limits of traditional iconography to demonstrate how painting today — amid so much noise — remains an original discipline. The artist's creativity then reaffirms — also thanks to the dazzling chromatics — that the approach tied to the genre still has a place in 21st-century painting.

Zenerato's painting guides 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, and a future rich in artificial and artificial contaminants.
It is a warning and a notice the message that transpires 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 run 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) underscore how important it is not to sever the bond with the past, with a world where nature was predominant.
The female element, located on the temporal plane of the present, represents the archetype of the mother-Earth placed in the middle ground between past and future.
Gianfranco, like 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 own fragility in the face of the complexity of a world he created, the technological one, which is slipping from his hands and he 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 rediscover ourselves, and the female figure becomes a symbol of the one who allows us to be reborn.
The words “to start” and “to give birth” both contain the concept of separation and detachment, and in every journey Gianfranco Zenerato undertakes there is this circular temporal reference, this departure and then return. When looking to the future, all that remains is to turn our gaze to the past to not lose our roots, to not be dehumanized by the technological and post-technological world.
Each journey puts rationality and emotions on the same plane, raises doubts and fears, the times of daily life 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. 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 you go toward the unknown, it manages to put order in 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 has this sense of coming from one place and heading toward another. In the center the female figure as a point of reference: it is the artist's conscience, 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 eroded because the artist himself does not recognize himself in 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 elements of still lifes become, in some cases, almost absent and overwhelmed by the technological ones.
It becomes fundamental, then, 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 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 may find our essence, realize the relativity of values and our own and others’ points of view. We may lose ourselves and then find ourselves again, realizing a common nature, destiny, and identity. (Gaetana Foletto)

The artist, starting from classical pasticism with a language of pre-abstract figurative, on the background of his internal historicizing cosmos, moves the mobile cursor of his emerging development consciousness, up to the extreme urgencies of the present, subjugating his learned technique to the energy of dream, sign, symbol and above all the color, rich in brightness and timbral purity, to interact with the present even technologically. His modernity is genuinely psychological and expressive of his expressive charge of variables of late 20th-century postmodernist quotation... with Caravaggesque perspective overlays ... and modern psychology of post-Renaissance extraction (Rembrandt ...). Zenerato has broad creative potential historically, knowing how to poetically combine it, assembling, making the choir 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: figurative reaches scenic effects in a space in which a symbolic frequency vibrates, entrusted from time to time 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 talk about the rich and innovative painting of the artist Gianfranco Zenerato, and this because through that simple sentence a great truth is told: that now in painting 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 huge obstacles because as Giorgio Morandi also said “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 elect 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 Master Zenerato, a talented artist who makes meticulousness, rigor and imagination a painting style that, while recalling past Masters, proves the artist has drawn from the lessons of beautiful painting and stolen from the greats an impeccable technique, presents a uniqueness and an visible individuality in that touch of elegant modernity present in every single creation, which makes him a rare bird in the national artistic scene.
Vines of flowers and ripe, lush fruit, laid on tall marble walls worn by the years and often smeared 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 bridges 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 greater vigor what Zenerato bans on the marble tablets in the foreground, where an ever more vivid color range—from red to yellow to green and all the warmer tones of the rainbow—stays.
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 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