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 AN EXCLUSIVE AND DISTINCTIVE WORK TO YOUR COLLECTION, CAPABLE OF ENHANCING THE PRESTIGE OF YOUR ARTISTIC ESTATE!

- 224 works sold
- 100% positive feedback
- 87 certified reviews

www.zenerato.com

One-of-a-kind piece 100% HAND-PAINTED

International archival certificate - Certificate of authenticity - File containing the artist’s artistic journey - oil and quartz sand on panel - material/gestural - total dimensions including frame 65x75x5.5 cm - Ready to hang - Beautiful handcrafted wooden frame

WHY COLLECT A WORK BY GIANFRANCO ZENERATO

✓ 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 that have acknowledged its value and quality.

✓ Works 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 eminent critics and art historians, including Paolo Levi, Giammarco Puntelli, Sandro Serradifalco, Giorgio Grasso and many other professionals in the field.

✓ A unique and instantly recognizable style
Zenerato’s works combine 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 impact and collectability.

✓ Not a simple 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 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 collectible value over time.

www.zenerato.com

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

SOME REVIEWS BY NOTED INDUSTRY EXPERTS:

Gianfranco Zenerato belongs to that trend of 1970s artists, stern messengers to Western society. While Milanese Antonio Recalcati and Roman Franco Mulas expressed social anger, Zenerato, on the contrary, bears a poignant warning, where humanity’s defeat may also represent the threshold of secular redemption. It is a vision dense with symbolic meanings, of a painter from a modern school who, with talent, reconciles research and 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 classicism of these silent images interrupts the suspended atmosphere of a gray world, the contemporary one, which leads us away from dream. (Paolo Levi)

In this disturbing yet explicit visual message, the dialogue between chromatic essentiality and harmony of forms 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-based narratives that reveal, step by step, endless possibilities of a fertile imagination, organized according to ordered sequences of his mental elaborations. His fanciful constructions could thus confuse critical judgment in defining him a surrealist. This is not correct, as he does not propose an imaginary, absurd reality, but rather, paints a reality familiar to us, with a communicative and highly symbolic purpose. (Sandro Serradifalco)

This painting by Gianfranco Zenerato is technically well structured, finely and richly articulated, and proposes 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 indeed plays with symbols and allusions and enjoys confusing interpretive coordinates of what could be the intertwining of a story camouflaged in unreality. (S. Russo)

With Gianfranco Zenerato we have an excellent idea, transformed with great capacity into a figurative of anticipation, where modernity meets a time that no longer exists to reawaken our feelings... (Giammarco Puntelli)

The author focuses on the overlap and intersection of genres, on a subtle and incisive symbolic metaphor in the subjects and colors. With a brilliant intuition, he unites past (still life), present (the female image) and future (symbolism, cryptic writing ...) so that the work becomes an artistic paradigm but also literary and meta-narrative. The painter is urged to identify a new visual universe, probe the limits of traditional iconography to demonstrate how painting today — amid so much noise — remains an original discipline. The artist’s creativity thus reiterates — also thanks to dazzling chromatics — how the genre-related approach still has a right to citizenship in 21st-century painting.

Zenerato’s painting leads us to a three-tier view of reality. It is a time-travel journey 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 world, but now lost, and to a future full of artificial and artificial contaminations.
It is a warning and an alert that emanates from the elements placed on the canvas enclosing 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 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 prevailed.
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 Odyssey, 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 from his hands and he feels the need to return to where he started. Thus the cyclicity 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 reference, this departure and return. When looking to the future, all that remains is to turn the gaze to the past to not lose our roots, not to let ourselves be dehumanized by the technological and post-technological world.
Each journey places rationality and emotions on the same level, stirs doubts and fears, the rhythms of daily life distort and acquire different meanings.
Going toward the future becomes a challenge, caught in the female gaze, but also a danger because it is almost a loss of identity. Starting requires facing separation from the “old self,” composed 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 heading, while the focus of contraction is the direction from which one comes, and in Zenerato’s works one has this sense of origin from one place and direction toward another. At the center is 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 temporal plane of the future that represents arrival is, in some works, dehumanized, and the female figure is almost eroded because the artist himself does not identify with that placement: it is as if the loss of identity were a disconsolate resignation to the loss of bond with the past, and even the elements of still lifes become, in some cases, almost absent and overshadowed by technological elements.
It becomes fundamental, then, to protect ourselves from this advancing future, dangerous and almost uncontrollable, and retreat to 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 while awaiting the discovery of 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, realizing a common nature, a shared destiny, a common identity. (Gaetana Foletto)

The artist, starting from classic pasticism with a language of pre-abstract figurative art, on the backdrop of his interior historicizing cosmos, moves the movable cursor of his developing consciousness, up to the extreme emergences of the present, subjecting his learned technique to the energy of dream, sign, symbol and above all the color, rich in brightness and timbral purity, to interact with the present even technologically. His modernity is genuinely psychological and an expressive force of his emotive charge of postmodern transavanguardia with quotation, with Caravaggesque perspective overlays ... and modern psychology of post-Renaissance extraction (Rembrandt ...). Zenerato has broad creative potential historically, skilfully combining it poetically, arranging, making the lyre of the poetry of the soul vibrate on the coordinates of art history in universal values, and scanning on 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: figurative reaches scenic effects in a space where a symbolic frequency vibrates, entrusted alternately to dream, to myth, or to daily reality, all harmonized by a splendid chromatic game.

The Artist of rigor and modernity
Curated 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 never to have been said before. (Goethe)

It is necessary to start from Goethe’s incisive phrase to speak of the rich and innovative painting of Gianfranco Zenerato, and this because through that simple phrase 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 argued, “There is almost nothing 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 by 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 gaze, into vibrant tones that color the dullness of the world around us.
Among these fortunate ones surely lies Master Zenerato, a highly talented artist who makes meticulousness, rigor and fantasy a painting style that, while recalling past Masters, shows that the artist has learned from the lessons of beautiful painting, stealing from the greats an impeccable technique, presents a uniqueness and an individuality visible in that touch of elegant modernity present in every creation, which makes him a rare bird in the national artistic panorama.
Baskets of flowers and ripe, 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 everyday 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 dusk when the green ray salutes the sun and welcomes the moon, further intensifies what Zenerato bans on the marble panels in the foreground, where an increasingly vivid color range 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 initially poetic and then pictorial, with which he can represent what he feels by filtering the ugliness and negativities that our world carries.

Who has 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...

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