Gianfranco Zenerato - ICON

OPPORTUNITIES FOR ART COLLECTORS AND INVESTORS

Among the most appreciated contemporary artists and the 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 CAPABLE OF ENHANCING THE PRESTIGE OF YOUR ART ESTATE!

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

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if you happen to be on vacation or temporarily away, I invite you to contact me to arrange together the delivery schedule of the purchased lot. I will be happy to accommodate your organizational needs so that the delivery takes place in the most convenient times and ways for you.

www.zenerato.com

Unique piece 100% HAND-PAINTED on fine black velvet

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 exhibition activity.

✓ Over 500 awards and recognitions
An artistic path recognized by institutions, critics and cultural organizations for 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.

✓ Appreciated by specialized criticism
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 unite figurative tradition, symbolism and contemporaneity. Each painting tells a story and invites the viewer to a personal and ever-new reading.

✓ Executed with high technical quality
Great attention to detail, compositional balance and chromatic intensity make every work a piece with strong visual and collecting impact.

✓ Not a mere decoration
Each work arises 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 awards and a consolidated presence in international collections.

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

"ICON" is a visual reflection on the sacrality of technology. The everyday object, a mouse, is sublimated into a relic of digital thought, at the center of a chromatic energy that vibrates like an aura. The paint becomes the language of the information flow, translating the mechanical gesture into inner perception. The artist transforms functionality into symbol, returning to the present a revered image: the icon of our connected age.
Owning ICON means safeguarding a fragment of the most authentic contemporaneity: a work that unites aesthetics, reflection and technological memory. A canvas destined to become evidence of our passage from the analogue human to the digital human.

International Archival Certificate - Autograph Certificate of authenticity - File containing the artist’s professional journey
Unique piece 100% HAND-PAINTED on fine black velvet - overall dimensions including frame 35x39x3 cm - acrylic, metallic colors on canvas - 2025
Ready to hang - Beautiful high-quality wooden Baroque frame prepared by hand

Gianfranco Zenerato (Professional Artist - Italy)

• Active since 1990, with over 600 participations in national and international art events.
• Recognized for the high quality of the works, with over 500 awards received.
• 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.

IMPORTANT NOTE FOR BIDDERS OUTSIDE THE EUROPEAN UNION
Shipments to non-EU countries are possible, but due to complex bureaucratic procedures (ministry authorizations, customs paperwork, etc.), additional costs are expected, already included in the shipping costs 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 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 reviews by noted industry experts:

Gianfranco Zenerato belongs to that current of 1970s artists, stern messengers to Western society. While Milanese Antonio Recalcati and Roman Franco Mulas expressed social anger, Zenerato carries a poignant warning, where mankind’s defeat can also mark the threshold of secular redemption. It is a vision dense with symbolic meaning, from a modern school painter who talentfully reconciles research with experimentation. (Paolo Levi)

One realizes receiving from 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 diverts us from dreams. (Paolo Levi)

In this inquiet and explicit visual message, the dialogue between chromatic essentiality and the harmony of forms testifies to expressive tension and mastery of a skilled artist. Interesting and new is the mixture of flowers, fruits and contemporary technological objects. (Stefania Bison)

Gianfranco Zenerato develops signic 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 instead paints a reality familiar to us, with a purpose that is communicative and highly symbolic. (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 explore these messages are left to decipher what meaning the author attributed to them. He indeed plays with symbols and allusions and enjoys confusing interpretive coordinates of what could be the weave of a story camouflaged in unreality. (Salvatore 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 re-meet our feelings... (Giammarco Puntelli)

The author emphasizes overlapping and intersection of genres, on a research that is allusive and metaphorical, incisive in subjects and colors. With brilliant 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. The painter should identify a new visual universe, explore the limits of traditional iconography to demonstrate how painting today — amid much noise — remains an original discipline. The artist’s creativity then reaffirms — also thanks to brilliant chromatics — how the approach tied to gender still has a right to citizenship in 21st-century painting.

Zenerato’s painting leads us to a three-level view of reality. It is a journey through time that the artist takes us on, having, through various experiments, 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 artificial contaminations.
It is a warning and admonition that emerges from the elements on the canvas surrounding his overall vision. The fixed “battery” element tells us “attention,” time is about to run out, and the strong foreground of natural elements contaminated by objects of the technological world (the mouse, the CD, or the alarm clock) underscore how important it is not to sever the connection with the past, with a world where nature predominated.
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, seeking 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 has created, the technological one, which is slipping from his grasp and thus 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 thus 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 have no choice but to turn our gaze to the past to not lose our roots, not to be dehumanized by the technological and post-technological world.
Each journey puts reason and emotion 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 gaze of the female, but also a danger because it is almost a loss of identity. Starting out, 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 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 you feel this sense of coming from one place and moving toward another. At the center is 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 the 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 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 oneself from this advancing future, which is dangerous and almost uncontrollable, 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 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, become aware of the relativity of values and our own and others’ points of view. We may get lost and then find ourselves again, realizing a common nature, destiny, and identity. (Gaetana Foletto)

The artist, starting from classical pastish with a language of pre-abstract figurative, on the backdrop of his inner historicizing cosmos, moves the movable cursor of his developing consciousness, up to the extreme emergences of the present, submitting his learned technique to the energy of dream, sign, symbol and above all to the color, rich in clarity and timbral purity, to interact with the present even in its technological form. His modernity is genuinely psychological and an intensive expression of his expressive charge of variants of late 20th-century quotationary trans-avant-garde... with Caravaggesque perspective overlays ... and modern psychology of post-Renaissance extraction (Rembrandt ...). Zenerato has vast creative potential, poetically blending it, assembling, making the soul’s poetry string 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. dialoging with the present. (Prof. Alfredo Pasolino)

Very interesting is his research: figuration reaches scenic effects in a space where 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 express 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 artist Gianfranco Zenerato, and this because through that simple phrase a great truth is told, namely that 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 enormous obstacles because as Giorgio Morandi also stated “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 in front of 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 don’t 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 grayness of the world around us.
Among these fortunate ones is certainly Maestro Zenerato, a talented artist who makes meticulousness, rigor and fantasy one painting style that, although it recalls past Masters, demonstrates that the artist has learned from the lessons of fine painting, stealing to the greats an impeccable technique, presents a uniqueness and an identifiable individuality visible in that touch of elegant modernity present in every single creation, which makes him a rare bird in the national art scene.
Vines of flowers and ripe, lush fruit, laid on high walls of marble worn by the years and often defaced by amorous drawings of two young lovers, intertwine with everyday modern objects, 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 bids farewell to the sun and welcomes the moon, emerges with even greater vigor what Zenerato bans on the marble boards in the foreground, where a color increasingly 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 painterly, with which he can represent what he feels by filtering the ugliness and negativities that our world carries.

Experts 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