Gianfranco Zenerato - ICON

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.

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

www.zenerato.com

International Archiving Certificate - Certificate of authenticity - File containing the artist's professional path
ONE-OF-A-KIND PIECE PAINTED 100% BY HAND - total dimensions including frame 34x38.5x3.5 cm - acrylic, metallized pigments and luminescent varnishes - glows in the dark - 2026
Ready to hang - Beautiful handcrafted Baroque wooden frame

WHY COLLECT A GIANFRANCO ZENERATO WORK

✓ Over 35 years of professional career
Active since 1990, Gianfranco Zenerato has gradually developed a personal, recognizable artistic language 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 exhibited activity.

✓ Over 500 awards and recognitions
An artistic path recognized by institutions, critics and cultural organizations for 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 authoritative critics and art historians, including Paolo Levi, Giammarco Puntelli, Sandro Serradifalco, Giorgio Grasso and many other industry professionals.

✓ A unique and instantly recognizable style
Zenerato’s works fuse figurative tradition, symbolism and contemporaneity. Each painting tells a story and invites the viewer to a personal and ever-new reading.

✓ High technical quality
Great attention to detail, compositional balance and chromatic intensity make each work a visually striking and collector-worthy piece.

✓ Not just a simple decoration
Each work arises from a research path developed over more than three decades of professional activity and represents the synthesis of the artist's 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 piece designed not only to be admired today, but to maintain its artistic, cultural and collecting 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 hums 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 a symbol, restoring to the present an object of reverence: the icon of our connected time.
Owning ICON means guarding a fragment of the most authentic contemporary reality: a work that combines aesthetics, reflection and technological memory. A painting destined to become a testimony of our passage from the analog man to the digital man.

IMPORTANT NOTE FOR OFFERORS OUTSIDE THE EUROPEAN UNION
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GIANFRANCO ZENERATO (Professional Artist - Italy)

Active since 1990, he has undertaken 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 important 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 well-known art critic, Prof. Giammarco Puntelli.

Among the numerous reviews by renowned art experts:

Gianfranco Zenerato belongs to that group of 1970s artists, stern messengers toward Western society. While Milanese Antonio Recalcati and Roman Franco Mulas expressed social anger, Zenerato conveys a poignant warning, where the defeat of man can also be the threshold of 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)

One realizes receiving 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 distracts us from dream. (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 novel the mix of flowers, fruits and contemporary technological objects. (Stefania Bison)

Gianfranco Zenerato develops sign-based narratives that gradually reveal the infinite possibilities of a fertile imagination, organized according to ordered sequences of his mental elaborations. His fanciful constructions could confuse critical judgment in defining him a surrealist. This is not correct, as he does not propose an absurd/non-real imaginary world, but rather paints a reality familiar to us, with a clearly communicative and highly symbolic purpose. (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 scenographic component, and it remains for those who scrutinize these messages 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 weave of a story camouflaged as unreality. (S. Russo)

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

The author relies on overlapping and intersecting genres, on an incisive allusive and metaphorical search in subjects and colors. With brilliant intuition, he unifies past (still life), present (the female image) and future (symbolism, cryptic writing ...) so that the work becomes an artistic but also 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, then, reaffirms — thanks also to the radiant chromies — that the gender-based approach still has a right to citizenship in 21st-century painting.

Zenerato’s painting leads us to a three-tier vision of reality. It is a journey through time 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 now lost, and to a future full of artificial and artful contaminations.
It is a warning and a foreboding 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 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 was predominant.
The female element, placed on the temporal plane of the present, represents the archetype of mother-Earth set in the middle ground between past and future.
Gianfranco, like an Odyssey, 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 in front of the complexity of a world he created, the technological one, which is slipping away from him, and thus he feels the need to return to where he started. Thus the cyclicality returns, where the journey is this eternal call to life and death. We must return to the starting point to find ourselves again, and the female figure thus becomes a symbol of the one who enables our rebirth.
The words “to start” 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 reference, this departure and return. When looking to the future, we are left to look to the past to not lose our roots, to not be dehumanized by the technological and post-technological world.
Every journey puts rationality and emotions on the same level, raises doubts and fears, daily times 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 freedom, even if limited because we step into the unknown, it manages to bring order to the past. Moving perspective becomes centrifugal and centripetal, the flow of expansion is the direction we are heading in, while the focus of contraction is the direction we come from, and in Zenerato’s works you feel this sense of coming from one place and heading toward another. At 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 time plane representing arrival is, in some works, dehumanized, and the female figure is almost crumbled because the artist himself does not recognize himself in such placement: it is as if the loss of identity were a desolate resignation to the loss of connection with the past, and even the elements of still life become, in some cases, almost absent and overwhelmed by those of the technological world.
It becomes fundamental, then, to protect oneself from this advancing future, dangerous and almost uncontrollable, and to take refuge in 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 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’ perspectives. We may get lost and then find ourselves again, realizing a common nature, a common destiny, a common identity. (Gaetana Foletto)

The artist, starting from classic pastism with a language of pre-abstract figurative art, against the backdrop of his inner historicizing cosmos, moves the mobile cursor of his developing consciousness, up to the extreme emergencies 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 engage with the present even technologically. His modernity is genuinely psychological and an intensive expression of his expressive charge of postmodern neoclassical references since the late 20th century, with Caravaggesque perspective overlaps... and modern post-Renaissance psychology (Rembrandt...). Zenerato has broad historical creative potential, skillfully combining it poetically, assembling, making the strings of the soul’s poetry vibrate on the coordinates of art history in universal values, and in the scan on the cursor of his infinite imaginary 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: figuration achieves scenographic 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 present what they have to say in a way that seems it has never been said before.
(Goethe)

It is necessary to begin from Goethe’s incisive phrase to speak of the rich and innovative painting of the artist Gianfranco Zenerato, and this is because through that simple sentence a great truth is told, namely that in painting everything has already 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 said, “There is nothing or very little 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, 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 greyness of the world around us.
Among these fortunate ones we must certainly count Master Zenerato, a talented artist who makes minutely, rigor and fantasy a painting style that, though it evokes the great Masters of the past, demonstrates that the artist has learned the lessons of fine painting by stealing from the greats an impeccable technique, presents 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.
Borders of flowers and ripe, lush fruit, laid on high marble walls worn by the years and often stained by 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 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 strongly what Zenerato bans on the marble boards in the foreground, where a color increasingly vivid stands out ranging from red to yellow to green, and all the warmest shades of the rainbow.
And the rainbow seems to overshadow the career of this young and promising artist, prose writer of art because he creates a style that is first poetic and then pictorial, with which he manages to represent what he feels by 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 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