Gianfranco Zenerato - ICON

OPPORTUNITIES FOR ART COLLECTORS AND INVESTORS

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

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- 225 works sold
- 100% positive feedback
- 90 certified reviews

www.zenerato.com

International Archival Certificate - Certificate of Authenticity - File containing the artist’s professional trajectory
ONE-OF-A-KIND PIECE PAINTED 100% BY HAND - total dimensions including frame 34x34x3.5 cm - acrylic, metallic pigments and luminescent varnishes - glows in the dark - 2025
Ready to be hung - Splendid baroque wooden frame handcrafted

WHY COLLECT AN OPERA OF GIANFRANCO ZENERATO

✓ Over 35 years of professional career
Active since 1990, Gianfranco Zenerato has gradually developed a personal artistic language, recognizable and appreciated by collectors and art critics.

✓ More than 600 exhibitions and art events
A constant presence in the national and international art scene, built over 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 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 unite figurative tradition, symbolism and contemporaneity. Each painting tells a story and invites the viewer to a personal and always new reading.

✓ Works created with high technical quality
Great attention to detail, compositional balance and chromatic intensity make every piece visually impactful and collectible.

✓ Not just simple decoration
Each work stems from a research path developed over more than three decades of professional activity and represents a synthesis of the author’s artistic vision.

An opportunity for the collector

Acquiring a Gianfranco Zenerato work means possessing 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 preserve its artistic, cultural and collectable value over time

"ICON" is a visual reflection on the sacredness of technology. The everyday object, a mouse, is sublimated into a relic of digital thought, a center of 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, returning to the present a cult image: the icon of our connected time.
Owning ICON means guarding a fragment of the most authentic contemporaneity: a work that unites aesthetics, reflection and technological memory. A painting destined to become a testament to our transition from the analog man to the digital man.

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GIANFRANCO ZENERATO (Professional Artist - Italy)

Active since 1990, he has embarked on 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 renowned art critic, Prof. Giammarco Puntelli.

Some of the numerous reviews by well-known art 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 the defeat of man can also represent the threshold of a secular redemption. It is a vision rich in symbolic meanings, of a painter from a modern school who, with talent, reconciles research with experimentation. (Paolo Levi)

You notice in 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 distracts us from the dream. (Paolo Levi)

In this unsettling yet explicit visual message, the dialogue between chromatic simplicity and harmony of forms testifies to expressive tension and the mastery of a skilled artist. An interesting and novel mix of flowers, fruits and contemporary technological objects (like a computer mouse, a CD or an alarm clock) that becomes a link between past, present and future. (Stefania Bison)

Gianfranco Zenerato develops sign-based narratives that reveal, step by step, the infinite possibilities of a fertile imagination, organized according to ordered sequences of his mental elaborations. His imaginative constructions could thus confuse critical judgment in defining him as a surrealist. This is not accurate, because he does not offer an absurd and unreal imagination, but rather paints 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 the reality constructed by the mind of a visionary. His works have a strong scenic component, and those who examine these messages are left to decipher what meaning the author attributed to them. He plays with symbols and allusions and enjoys confusing interpretative coordinates of what could be the plot of a story camouflaged as unreality. (S. 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 make us rediscover feelings... (Giammarco Puntelli)

The author relies on overlap and intersection of genres, on an allusive and incisive metaphorical search in subjects and colors. With a sudden insight, he unifies the past (still life), the present (the female image) and the future (symbolism, cryptic writing ...) so that the work becomes both an artistic and literary and meta-narrative paradigm. The painter must discover a new visual universe, probe the limits of traditional iconography to show how painting today — amid much noise — remains an original discipline. The artist’s creativity then reiterates — also thanks to the brilliant chromies — how the approach tied to the genre still has a right to 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 gradually positioned his vision in a present that “looks” to the past as an ideal yet 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” that 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 in which nature was predominant.
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 created, the technological one, that is slipping away from him, and he feels the need to return to where he started. Thus, cyclical time 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 Gianfranco Zenerato undertakes there is this circular temporal resonance, this departure and return. When looking to the future, all that remains is to turn our gaze to the past to not lose our roots, not to allow ourselves to be dehumanized by the technological and post-technological world.
Every journey places rationality and emotion on the same plane, 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. To depart is still freedom, and even if this is limited because it heads into the unknown, it manages to bring order to the past. The moving perspective becomes centrifugal and centripetal; the flow of expansion is the direction in which one is moving, while the focal point of contraction is the direction from which one comes, and in Zenerato’s works you have 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 temporal plane of the future 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 location: it is as if the loss of identity were a disconsolate resignation to the loss of connection with the past, and even the elements of still lifes become, in some cases, almost absent and overwhelmed by those of the technology world.
It becomes essential, then, to protect oneself from this advancing future, which grows 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 opportunity to travel through dreams, signs and symbols, where each of us will see our own reflection in a mirror. Starting with him will mean momentarily eclipsing 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’ points of view. We may get lost and then find ourselves again, realizing a common nature, destiny, and identity.
(Note: Gaetana Foletto)

The artist, starting from classic passéisme with a language of pre-abstract figuration, within the backdrop of his inner historicizing cosmos, moves the movable cursor of his developing consciousness, up to the extreme urgencies of the present, subordinate his learned technique to the energy of dream, sign, symbol and especially color, rich in clarity and timbral purity, to interact with the present even in its technological form. His modernity is genuinely psychological and an expressive outpouring of his emotional charge of postmodern quotation-based transavant-garde from the late 20th century onwards... with Caravaggesque perspective overlaps... and modern psychology of post-Renaissance extraction (Rembrandt...). Zenerato has broad creative potential, poetically combining them, assembling, making the strings of the soul’s poetry vibrate on the coordinates of art history in universal values, and in scan of the cursor of his infinite imaginative evolution, through the hyperrealism of his visionary dream, a window opened added to reason, conversing with the present. (Prof. Alfredo Pasolino)

Very interesting his research: figuration achieves scenographic effects in a space where a symbolic frequency vibrates, entrusted 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 makes it seem 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 Gianfranco Zenerato, and this because through that simple sentence one tells a great truth, 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 little or nothing new in the world,” and therefore to be original one would have to 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 by a masterpiece, but painting and creating is a gift that God has granted to only a few chosen, who, able to see 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 grayness of the world around us.
Among these fortunate ones one must surely count Master Zenerato, a talented artist who makes minutiae, rigor and fantasy one painting style that, even if it recalls past Masters, proves that the artist has learned the lessons of fine painting and steals from the greats an impeccable technique, presenting a uniqueness and an individuality visible in that touch of elegant modernity present in every single creation, which makes him a rare bird in the national artistic panorama.
Bunches of flowers and ripe, lush fruit, laid on high walls of marble worn by the years and often smeared with the amorous drawings of two young lovers, intertwine with objects of modern daily life, 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 salutes the sun and welcomes the moon, emerges even more vigorously what Zenerato banishes on the marble boards in the foreground, where a color that becomes ever more vivid ranges from red to yellow to green and all the warm 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, filtering the ugliness and negativities 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 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