Gianfranco Zenerato - ABSTRACT MOUSE

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 A UNIQUE AND DISTINCTIVE WORK TO YOUR COLLECTION, CAPABLE OF ENHANCING THE PRESTIGE OF YOUR ART HERITAGE!

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

Dear Collectors,
if you happen to be on vacation or away for a moment, I invite you to contact me to agree together on the scheduling of the delivery of the lot purchased. 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

One-of-a-kind piece 100% HAND PAINTED - Acrylic and quartz sand

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 praised 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.

✓ Appreciated by specialized critics
His artistic research has been analyzed and presented by reputable 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 blend 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 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 artistic 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 piece designed not only to be admired today, but to maintain its artistic, cultural and collecting value over time.

"ABSTRACT MOUSE" stands as a visual reflection on the disintegration of form and its technological reflection. The mouse, icon of digital subjectivity, dissolves into violently chromatic fragments, almost explosive, that seem to allude to a collision between instinct and interface.
The work, in its material dynamism and in the fragmentation of the line, probes the boundary between human gesture and mechanical input, evoking a poetics of post-digital disorientation.

One-of-a-kind piece 100% HAND PAINTED
International archival certificate - Certificate of authenticity signed by the author - File containing the artist's professional path - Unique hand-painted work - Acrylic and quartz sand on panel - total dimensions including frame 45x55x5cm - 2025 - Ready to be hung - Beautiful handcrafted wooden frame

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 are expected, already included in the shipping costs indicated 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 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 noteworthy 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 from well-known industry experts:

Gianfranco Zenerato belongs to that cohort of 1970s artists, stern messengers to Western society. While Milanese Antonio Recalcati and Roman Franco Mulas expressed social anger, Zenerato, instead, bears a heartbreaking warning, where humanity's defeat can also represent the threshold of secular redemption. It is a vision dense with symbolic meaning, from a modern-school painter who skillfully 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 a young woman. The classical nature of these silent images interrupts the suspended atmosphere of a gray world, the contemporary one, which distracts us from dreaming. (Paolo Levi)

In this disturbing 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 mix of flowers, fruits and contemporary technological objects. (Stefania Bison)

Gianfranco Zenerato develops sign-structuring narratives that reveal, step by step, the infinite possibilities of a fertile imaginary, organized according to orderly sequences of his mental elaborations. His fantastical constructions could thus confuse the critical judgment in defining him as a surrealist. This is not correct, because he does not present an absurd and unreal imaginary, but rather 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 scenic component, and those who study 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 masquerading as unreality. (S. Russo)

With Gianfranco Zenerato we have an excellent idea, transformed with great capacity into a figurazione of anticipation, where modernity meets a time that no longer exists to make us meet again the feelings... (Giammarco Puntelli)

The author relies on the overlapping and intersection of genres, on a deliberately allusive and metaphorical research into subjects and colors. With striking insight he unifies past (still life), present (the female image) and future (symbolism, cryptic writing ...) so that the work becomes an artistic paradigm but also literary and metanarrative. It presses the painter to discover a new visual universe, to probe the limits of traditional iconography to demonstrate how painting today — amid so much noise — is still an original discipline. The artist's creativity thus confirms — thanks also to the dazzling chromatic tones — that the genre-related approach still has rightful citizenship in 21st-century painting.

Gianfranco Zenerato's painting leads us to a three-level 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 lost world, and to a future full of artificial and artificial contaminations.
It is a warning and a notice the message that emerges from the elements on the canvas surrounding his overall vision. The “battery” we find as a fixed element is telling 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) emphasize how important it is not to sever the bond 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 Mother-Earth 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 in the face of the complexity of a world he has created, the technological one, which is slipping from his hands and feels, therefore, the need to return to where he started. Thus, cyclicality returns in which 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 give birth” both contain the concept of separation and detachment, and in every journey undertaken by Gianfranco Zenerato there is this circular temporal allusion, this leaving 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.
Every journey puts rationality and emotions on the same level, 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 gaze of the feminine, but also a danger because it is almost a loss of identity. Starting means facing 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 going, while the axis of contraction is the direction from which one comes, and in Zenerato’s works you feel this sense of coming from one place and heading toward another. In 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 future temporal 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 such a placement: it is as if the loss of identity were a disconsolate resignation to the loss of link 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 future, which advances as dangerous and almost uncontrollable, 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 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 get lost and then find ourselves again, becoming aware of a common nature, a common destiny, a common identity. (Gaetana Foletto)

The artist, starting from classical pastiche with a language of pre-abstract figurative art, on the background of his interior historizing cosmos, slides the movable 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 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 variables of late 20th-century postmodernist quotation, with Caravaggesque perspective overlays ... and modern psychology of post-Renaissance extraction (Rembrandt ...). Zenerato has wide creative potential historically, 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 on the cursor of his infinite imaginative evolution, through the hyperrealism of his visionary dream, a window opened added to reason, engaging with the present. (Prof. Alfredo Pasolino)

Very interesting his research: depiction achieves scenic effects in a space where a symbolic frequency vibrates, entrusted to dream, myth, or daily 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 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 is because through that simple sentence 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 Masters of the past, must overcome enormous obstacles because, as Giorgio Morandi also claimed, “There is nothing or very little new in the world,” and so to be original one should paint considering 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 only to chosen few 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 one must surely count Master Zenerato, a talented artist who makes meticulousness, rigor and fantasy one painting style that, though it recalls past Masters, demonstrates that the artist has learned from the lessons of beautiful painting and has borrowed 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.
Floral canopies and maturing, lush fruit rest on high walls of marble worn by years and often defaced by amorous drawings of two young lovers, intertwined with objects of modern daily life, such as a CD-ROM, a mouse, a spatula, which become the link 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 powerfully what Zenerato bans on the marble boards in the foreground, where a color ever more vivid ranges from red to yellow to green, and to 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 filtering the ugliness and negativity 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