Gianfranco Zenerato - ABSTRACT MOUSE

OPPORTUNITIES FOR ART COLLECTORS AND INVESTORS

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

ADD AN EXCLUSIVE AND DISTINTIVE WORK TO YOUR COLLECTION, ABLE TO ENHANCE THE PRESTIGE OF YOUR ARTISTIC ESTATE!

- 224 works sold
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- 87 certified reviews

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Unique piece 100% HAND-PAINTED

WHY COLLECT A WORK BY GIANFRANCO ZENERATO

✓ More than 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 on the national and international art scene, built through decades of exhibition activity.

✓ Over 500 prizes and recognitions
An artistic path recognized by institutions, critics and cultural organizations that have acknowledged 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 blend 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 every work a piece with strong visual and collecting impact.

✓ Not mere decoration
Each work stems 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 piece designed not only to be admired today, but to maintain its artistic, cultural and collecting value over time.

Unique piece 100% HAND-PAINTED - International archive certificate - Certificate of authenticity
File outlining the artist’s artistic journey - total dimensions including frame 65x75x5.5 cm - acrylic on panel
Ready to hang - Hand-crafted wooden frame

www.zenerato.com

GIANFRANCO ZENERATO (Painter — Italy)
He began his career in 1990, embarking on a long journey that has seen his works present at more than 600 art events.
National and International awarded artist.
Over 500 prizes won.
His works are part of important private and public collections in Italy, Europe, America, Asia.
He has exhibited alongside prominent artists such as Antonio Nunziante, Athos Faccincani, Alfonso Borghi, Giuseppe Menozzi, Giampaolo Talani, Saturno Buttò, etc.
Currently collaborates with the noted art critic Prof. Giammarco Puntelli.

SOME CRITICS’ REVIEWS BY RENOWNED EXPERTS IN THE FIELD:

Gianfranco Zenerato belongs to the lineage of seventies 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 may be the threshold of secular redemption. It is a vision dense with symbolic meanings, a painter of modern school who talentfully reconciles research with experimentation. (Paolo Levi)

One realizes 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, which diverts us from dream. (Paolo Levi)

In this unsettling yet explicit visual message, the dialogue between chromatic essentiality and form harmony testifies to expressive tension and the mastery of a skilled artist. Interesting and novel the blend of flowers, fruits and contemporary technological objects. (Stefania Bison)

Gianfranco Zenerato develops sign-structured 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 exact, for he does not propose an absurd and unreal imaginary, but rather 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 reality built by the mind of a visionary. His works have a strong scenographic component and for those who scrutinize these messages it remains to decipher what meaning the author attributed to them. He indeed plays with symbols and allusions and enjoys confusing the interpretative coordinates of what could be the plot of a story camouflaged in unreality. (Salvatore Russo)

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

The author focuses on overlap and intersection of genres, on an allusive and incisive metaphorical research into subjects and colors. With a brilliant intuition he unifies past (still life), present (the female image) and future (symbolism, cryptic writing...) so the work becomes an artistic and literary and metanarrative paradigm. The painter is urged to identify 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 thus reaffirms — also thanks to the striking chromatic tones — that the approach tied to gender still has a place in 21st-century painting.

Zenerato’s painting guides 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 a future full of artificial and pretended contaminations. It is a warning and an admonition the message that transpires from the elements on the canvas surrounding his overall vision. The fixed “drumbeat” as a constant element tells us “attention,” time is running out, and the strong reference to 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 mother-Earth archetype set in the middle ground between past and future.

Gianfranco, like an Odysseus, moves through 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 in the face of the complexity of a world he has created, the technological one, which is slipping away from him 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 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 echo, 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 let ourselves be dehumanized by the technological and post-technological world.

Each journey places 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 female, 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 core of contraction is the direction from which one comes, and in Zenerato’s works one senses this sense of coming from one place and moving toward another. In the center the female figure as a point of reference: it is the artist’s consciousness, the heart of going, with its rhythms, noises, times, difficulties, discoveries and emotions.

The future temporal plane representing arrival is, in some works, dehumanized, and the female figure is almost crumbled because the artist himself does not recognize himself in that position: it is as if identity loss were a sorrowful resignation to the loss of ties with the past, and even the elements of still life 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 opportunity 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 of our own and others’ viewpoints. We may lose ourselves and then find ourselves again, realizing a common nature, destiny, and identity. (Gaetana Foletto)

The artist, starting from classic pastiche with a language of pre-abstract figurative, within the inner historizing universe expands the mobile 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 color, rich in clarity and timbral purity, to interact with the present even in a technological sense. His modernity is genuinely psychological and an expansive expression of his expressive charge of late 20th-century postmodern quote, with Caravaggesque perspective overlaps... and modern psychology of post-Renaissance extraction (Rembrandt...). Zenerato has broad historical 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, engaging with the present. (Prof. Alfredo Pasolino)

Very interesting is his research: figuration 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 such 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 discuss the rich and innovative painting of Gianfranco Zenerato, and this because through that simple phrase one tells a great truth, namely that in painting everything has already been done, and today the artist who seeks to conquer his own individuality, without being influenced by the currents and the Masters of the past, must overcome enormous obstacles because as Giorgio Morandi also said, “There is little or nothing new in the world,” and therefore to be original one should paint taking into account 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 only to a few elect 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 certainly include Master Zenerato, a talented artist who makes minutiae, rigor and fantasy a painting style that, while recalling past Masters, shows that the artist has learned from their lessons a flawless technique, presents a uniqueness and an identifiable individuality visible in that touch of elegant modernity present in every single creation, making him a rare bird in the national artistic panorama.
Flowers and ripe, lush fruit lie on high marble walls worn by time and often smeared with 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 links between past, present and future; the surrounding landscape, almost always captured at sunset when the green ray salutes the sun and welcomes the moon, emerges with even greater vigor what Zenerato banishes on the marble boards in the foreground, where a color that becomes increasingly vivid ranges from red to yellow to green and all the warm tones of the rainbow.
And the rainbow seems to dominate 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 with it.
Critics 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