Gianfranco Zenerato - ICON

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Over 180 collectors have purchased Gianfranco Zenerato’s works on CataWiki.

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Unique piece 100% HAND PAINTED - it glows in the dark

Gianfranco Zenerato (Professional Artist - Italy)

• Active since 1990, with over 600 participation in National and International art events.
• Recognized for the high quality of works, with over 500 awards.
• Present in public and private collections in Italy, Europe, America and Asia.
• Exhibited beside masters such as Antonio Nunziante, Athos Faccincani, Alfonso Borghi, Giuseppe Menozzi, Giampaolo Talani, Saturno Buttò, etc.
• Reviewed by leading Italian critics.

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

International Archival Certificate - Certificate of authenticity signed by the author - File containing the artist’s professional dossier
Unique work 100% HAND PAINTED - total dimensions including frame 38x38x4 cm - acrylic, metallic colors, luminescent pigments on gallery canvas - IT GLOWS IN THE DARK - 2026
Ready to hang - Frame included in the lot

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GIANFRANCO ZENERATO (Professional Artist - Italy)
Active since 1990, he has undertaken an artistic path leading him to participate in over 600 art events, receiving national and international recognitions for the quality of his works. With over 500 prizes, his creations enrich notable public and private collections in Italy, Europe, America and Asia. He has exhibited beside 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 by notable sector experts:

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 carries a poignant warning, where man’s defeat can also mark the threshold of secular redemption. A vision dense with symbolic meanings, a painter of modern schooling who, with talent, reconciles research with experimentation. (Paolo Levi)

One notices from this emblematic image a kind of invitation to meditate on the beauty of a still life, of a flower and of a young woman. The classicity 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 essentialism and form harmony testifies to expressive tension and the mastery of a skilled artist. Interesting and original the mixture of flowers, fruits and contemporary technological objects. (Stefania Bison)

Gianfranco Zenerato develops symbolic narratives that gradually reveal the infinite possibilities of a fertile imagination, organized according to ordered sequences of his mental workings. His fantastic constructions could confuse critics in calling him a surrealist. This is not correct, as he does not present an absurd or unreal imagination, but rather paints a reality familiar to us, with a highly symbolic communicative aim. (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 scrutinize these messages are left to decipher what meaning the author attributed to them. He plays with symbols and cues and enjoys confusing interpretative coordinates of what might be the weave of a story camouflaged as unreality. (Salvatore Russo)

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

The author relies on the overlay and intersection of genres, on an allusive and incisive metaphorical research in 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 both an artistic and literary and metanarrative paradigm. It urges the painter to identify a new visual universe, to probe the limits of traditional iconography to show how painting today — amidst much noise — remains an original discipline. The artist’s creativity thus reaffirms — also thanks to the vibrant chromies — that the approach tied to gender still has a place in 21st-century painting.

Zenerato’s painting leads us to a three-level vision 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, though lost, and to a future full of artificial and artificial contaminations.
It is a warning and notice the message that appears from the elements on the canvas surrounding his overall vision. The “drum” that we find as a fixed element tells us “attention,” time is running out, and the strong call of natural elements 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 dominant.
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 Ulysses, travels in this temporal dimension, seeking the forces that support 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 front of the complexity of a world he created, the technological one, which is slipping from his grasp and therefore 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 find ourselves and the feminine figure then 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 reference, this departure and then return. When looking to the future, we are left to turn our eyes to the past to not lose our roots, to not let ourselves be dehumanized by the technological and post-technological world.
Each journey places rationality and emotions on the same plane, raises doubts and fears, the times of everyday life 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. When departing, one must face separation from the “old self,” made of habits, roles and certainties. Departing is still freedom, even if this is limited because one faces the unknown, it manages to order the past. The moving perspective becomes centrifuge and centripetal, the flow of expansion is the direction one is heading, while the focus of contraction is the direction from which one comes, and in Zenerato’s works one has this sense of coming from a place and directing toward another. In the center the female figure as a reference point: it is the artist’s conscience, the heart of going, with its rhythms, noises, times, difficulties, discoveries and emotions.
The future’s temporal plane representing arrival is, in some works, dehumanized, and the female figure is almost eroded 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 losing the bond with the past, and even the elements of still lifes become, in some cases, almost absent and overshadowed by technological ones.
It becomes fundamental, then, to protect ourselves from this advancing future, dangerous and almost uncontrollable, and to retreat into 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 dimming those mirrors in anticipation of discovering a different image of ourselves. We might find our essence, realize the relativity of values and viewpoints, both our own and others’. We may get lost and then find ourselves again, realizing a common nature, a common fate, a common identity. (Gaetana Foletto)

The artist, starting from classic pastism with a language of pre-abstract figurative, on the backdrop of his inner historicizing cosmos shifts the movable cursor of his developing consciousness, up to the extreme urgencies of the present, subduing his learned technique to the energy of dream, of sign, of symbol and above all that of color, rich in clarity, and in 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 the postmodern transavant-garde citational movement from the late 20th century onward... with Caravaggian perspective overlays ... and modern psychology of post-Renaissance extraction (Rembrandt...). Zenerato has broad historical creative potential, poetically combining it, assembling, making the lyre 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 plus reason. dialoguing with the present. (Prof. Alfredo Pasolino)

Very interesting his research: the figuration achieves scenographic effects in a space where a symbolic frequency vibrates, entrusted, at times, to dream, to myth, or to 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 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 speak of the rich and innovative painting of artist Gianfranco Zenerato, and this because through that simple sentence a great truth is told, namely that 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 therefore 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 has the right to be moved before a masterpiece, but painting and creation is a gift that God has granted only to a few chosen who, capable of seeing what others often do not perceive, manage to transform the emotions arising 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 lucky ones one must surely include Master Zenerato, a talented artist whose meticulousness, rigor and fantasy become a painting style that, though it recalls past Masters, proves that the artist has learned from the lessons of fine painting, borrowing 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 exception in the national art scene.
Vibrant flowers and ripe, lush fruit rest on high marble walls worn by time and often defaced by the 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 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 greater vigor what Zenerato banishes on the marble slabs in the foreground, where a color ever more 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 ugliness and negativity that our world carries with it.

They 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