Gianfranco Zenerato - ICON - XXL

OPPORTUNITIES FOR ART COLLECTORS AND INVESTORS

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

ADD A UNIQUE AND DISTINCTIVE WORK TO YOUR COLLECTION, ABLE TO ENHANCE THE PRESTIGE OF YOUR ART ASSETS!

- 216 works sold
- 100% positive feedback
- 83 certified reviews

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www.zenerato.com

Unique piece 100% HAND-PAINTED

WHY COLLECT A GIANFRANCO ZENERATO WORK

✓ Over 35 years of professional career
Active since 1990, Gianfranco Zenerato has developed over time a personal artistic language, recognizable and 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 exhibiting activity.

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

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

✓ Acclaimed 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 fuse figurative tradition, symbolism and contemporaneity. Each painting tells a story and invites the viewer to a personal and ever-new interpretation.

✓ Executed with high technical quality
Great attention to detail, compositional balance and chromatic intensity make every work visually striking and collectible.

✓ Not mere decoration
Each work arises from a research journey 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 owning an original piece created by an artist with a long documented career, hundreds of recognitions and a consolidated presence in international collections.

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

Piece unique 100% HAND-PAINTED
International Archival Certificate - Authenticity certificate signed by the artist - File containing the artist’s career - Acrylic, metallic pigments on fine black velvet mounted on a wooden frame - Dimensions 80x100x2 - 2025
The work is ready to be hung - NO FRAME REQUIRED

ICON
In ICON, the artist elevates a daily object—the mouse—into a universal symbol of the digital era. Out of the darkness emerges a glossy, powerful form, suspended between reality and abstraction, traversed by bursts of color that recall electrical impulses and data flows. The red, blue and green—the codes of artificial light—become a painting language and a spiritual language together, transforming technology into a contemporary icon.
This work represents not just an object, but an era: our era. It is a bridge between analog gesture and digital thought, between body and network, between art and memory.

Buying ICON means owning an emblematic fragment of the present, a visual sign that tells the quiet revolution of technology and its most authentic aesthetics.

IMPORTANT NOTE FOR BIDDERS OUTSIDE THE EUROPEAN UNION
Shipments to non-EU countries are possible, but due to complex bureaucratic procedures (ministerial authorizations, customs procedures, etc.), additional costs apply, already included in the shipping costs listed in the listing.
For the same reasons, delivery times may be longer than usual.
Thank you for 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 significant 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 critical remarks from notable industry experts:

Gianfranco Zenerato belongs to that group of 1970s artists, stern messengers to Western society. While the Milanese Antonio Recalcati and the Roman Franco Mulas expressed social anger, Zenerato instead bears a poignant warning, where the defeat of man can also mark the threshold of secular redemption. It is a vision dense with symbolic meaning, from a modern painting school, who with talent can reconcile research with experimentation. (Paolo Levi)

One notices in this emblematic image an 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 distracts us from dreams. (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 skilled artist. Interesting and original is the blend 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 imagination, organized according to ordered sequences of his mental elaborations. His imaginative constructions could thus mislead critical judgment into calling him a surrealist. This is not true, as he does not present an absurd or unreal imaginary world, but rather 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 scrutinize these messages are left to decipher what meaning the author attributed to them. He plays with symbols and cues and enjoys confusing interpretive coordinates of what could be the plot of a story disguised 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 rekindle our feelings... (Giammarco Puntelli)

The author relies on the overlay and intersection of genres, on an incisive allusive and metaphorical research in the 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 presses the painter to discover a new visual universe, to probe the limits of traditional iconography to demonstrate how painting today — amid much noise — remains an original discipline. The artist’s creativity then confirms — also thanks to the vibrant chromaticism — that the genre-based approach still has a rightful place in 21st-century painting.

Zenerato’s painting guides 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 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 ersatz contaminations.
It is a warning and an alert the message from the elements on the canvas surrounding his overall view. The “battery” we find as a fixed element is telling us “attention,” time is about to run out, and the strong summons 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 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 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 own fragility before the complexity of a world he created, the technological one, which is slipping away from him and feels, therefore, the need to return to where he started. Thus the cyclical returns: the journey is this eternal call to life and to death. We must return to the starting point to find ourselves, and the female figure thus becomes a symbol of the one who allows us to be reborn.
The words “to depart” and “to deliver birth” both contain the concept of separation and detachment, and in every journey undertaken by Gianfranco Zenerato there is this temporal circular reminder, this departure and return. When looking to the future, we can only turn our gaze to the past to not lose our roots, to not be dehumanized by the technological and post-technological world.
Every journey places rationality and emotion on the same level, raises doubts and fears, and the tempos of daily life 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 nonetheless, and even if this is limited because we meet 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 heading, while the core of contraction is the direction from which we come, and in Zenerato’s works you have this sense of coming from one place and moving toward another. At 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 future time plane that represents arrival is, in some works, dehumanized, and the female figure is almost disintegrated because the artist himself does not recognize himself in such a placement: it is as if the loss of identity were a disheartening resignation to the loss of links with the past, and even the elements of still life become, in some cases, almost absent and overwhelmed by those technological ones.
It then becomes essential to protect oneself from this dangerous and almost uncontrollable future and to seek refuge in something familiar 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 dimming those mirrors in anticipation of discovering a different image of ourselves. We will perhaps find our essence, realize the relativity of values and our own and others’ viewpoints. We may get lost and then find ourselves again, realizing a common nature, fate, and identity. (Gaetana Foletto)

The artist, starting from classical pastiche with a language of pre-abstract figurative, within the backdrop of his inner historicizing cosmos moves the movable 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 especially the 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 postmodern trans-avant-garde quotation starting from the late 20th century onward... with Caravaggesque perspective overlays... and modern post-Renaissance psychology (Rembrandt...). Zenerato has broad creative potential, poetically combining it, assembling, making the strings of the soul’s poetry vibrate on the coordinates of art history in universal values, and in scanning 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: figuration achieves scenographic effects in a space in which a symbolic frequency vibrates, entrusted to dream, myth, or everyday reality, all harmonized by a splendid chromatic game.

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 sentence to talk about the rich and innovative painting of artist Gianfranco Zenerato, and this is because through that simple phrase a great truth is told: in painting, almost everything has been done, and today the artist who seeks to conquer his own individuality, without being influenced by currents and the Masters of the past, must overcome enormous obstacles because, as Giorgio Morandi also asserted, “There is little or nothing new under the sun,” and therefore to be original one should paint with awareness of social, technological and scientific evolutions.

It is said that art is for everyone but not for everyone; everyone 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 arising from small things, from a gesture, a caress, a look, into vibrant tones that color the grayness of the world around us.
Among these fortunate ones we must certainly include the Master Zenerato, a talented artist who makes meticulousness, rigor and fantasy a painting style that, while recalling past Masters, demonstrates that the artist has learned from the lessons of fine painting and steals from the greats 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 artistic landscape.
Flower canopies and ripened, lush fruit, resting on high marble walls worn by years and often smeared with 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 with even stronger force what Zenerato bans on the marmoreal boards in the foreground, where a color increasingly vivid stands out ranging 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 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