Gianfranco Zenerato - MOTHER

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

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OPPORTUNITIES FOR ART COLLECTORS AND INVESTORS

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

- 226 works sold
- 100% positive feedback
- 91 certified reviews

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International Archival Certificate - Certificate of authenticity - Portfolio containing the artist’s professional trajectory
ONE-OF-A-KIND HAND-PAINTED PIECE - total dimensions including frame 34x38.5x3.5 cm - oil, acrylic, metallic pigments - 2026
Ready to hang - AMERICAN COTTAGE-STYLE FRAME INCLUDED AS A GIFT

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 on 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.

✓ Esteemed 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 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 vibrant color intensity make each work a piece with strong visual and collecting impact.

✓ Not mere decoration
Each work stems 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 awards and a consolidated presence in international collections.

A work designed not only to be admired today, but to maintain its artistic, cultural and collecting value over time

Gianfranco Zenerato (Professional Artist - Italy)

• Active since 1990, with over 600 participations 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.
• Has exhibited alongside masters such as Antonio Nunziante, Athos Faccincani, Alfonso Borghi, Giuseppe Menozzi, Giampaolo Talani, Saturno Buttò, etc.
• Reviewed by leading Italian critics.

Currently, he collaborates with the renowned art critic, Prof. Giammarco Puntelli.

SOME REVIEWS FROM NOTED SECTOR EXPERTS:

Gianfranco Zenerato belongs to the school of artists from the seventies, stern messengers to Western society. While Milanese Antonio Recalcati and Roman Franco Mulas expressed social anger, Zenerato carries a poignant warning, where human defeat may herald the threshold of secular redemption. It is a vision dense with symbolic meanings, of a modern school painter who skillfully reconciles research with experimentation. (Paolo Levi)

One notices in this emblematic image a kind of invitation to meditate on the beauty of a still life, a flower and a young woman. The classicity of these silent images interrupts the suspended atmosphere of a gray world, the contemporary one, that diverts 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 seasoned artist. Interesting and new is the mixture of flowers, fruits and contemporary technological objects. (Stefania Bison)

Gianfranco Zenerato develops sign-based narratives that reveal, step by step, the infinite possibilities of a fertile imaginary, organized according to ordered sequences of his mental elaborations. His fantastical constructions could confuse the critical judgment in defining him a surrealist. This is not accurate, as he does not offer a crazy 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 those who scrutinize these messages are left to decipher what meaning the author attributed to them. He plays with symbols and allusions and enjoys confusing interpretive coordinates of what might be the plot of a story camouflaged as unreality. (Salvatore Russo)

With Gianfranco Zenerato we have an excellent idea, transformed with great skill into a representation of expectation, where modernity meets a time that no longer exists to rekindle our feelings... (Giammarco Puntelli)

The author focuses on overlapping and intersecting genres, on an incisive allusive and metaphorical search in subjects and colors. With a brilliant instinct he unifies past (still life), present (female image) and future (symbolism, cryptic writing ...) so the work becomes an artistic but also literary and meta-narrative paradigm. He aims to discover a new visual universe, probing the limits of traditional iconography to show that painting today — amid much clamor — remains an original discipline. The artist’s creativity, enriched by dazzling hues, confirms that the gender approach still has a place in 21st-century painting.

Zenerato’s painting guides us to a vision of reality calibrated on three levels. It is a journey through time, as the artist, through various experiments, has positioned his vision in a present that “looks” to a past as an ideal world now lost, and to a future full of artificial and artificial contaminations.
It is a warning and a foreboding message that appears from the elements surrounding his overall vision. The “drum” that appears as a fixed element tells us “attention,” time is about to run out, and the strong appeal of natural elements placed 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 predominant.
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 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 in the face of the complexity of a world he created, the technological one, which is slipping away and makes him feel 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 again, 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 temporal circular reference, this departure and then return. When looking to the future we can only 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 emotions on the same level, giving rise to doubts and fears; daily life times 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 out means facing the separation from the “old self,” made of habits, roles and certainties. Departure is freedom, even if limited because one faces the unknown; it nevertheless 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 focal point of contraction is the direction from which one comes. In Zenerato’s works one gets this sense of coming from one place and heading toward another. At the center lies 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 that represents arrival is, in some works, dehumanized, and the female figure is almost crumbled 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 ties with the past, and even the elements of still lifes become, in some cases, almost absent and overwhelmed by those of a technological nature.
It becomes essential, 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 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 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, becoming aware of a common nature, destiny, and identity. (Gaetana Foletto)

The artist starting from classic pastism with a language of pre-abstract figurative, 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 especially color, rich in clarity and timbral purity, to interact with the present even in a technological sense. His modernity is genuinely psychological and expressive of his expressive charge of the late 20th-century postmodernist citational transavant-garde, with Caravaggesque perspective overlaps ... and modern psychology of post-Renaissance extraction (Rembrandt ...). Zenerato has wide-ranging creative potential, poetically combining them, assembling, making the lute of the poetry of the soul 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, dialoguing 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 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 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 phrase a great truth is told: in painting, almost everything has been done, and today the artist who seeks to conquer his own individuality, without being influenced by currents and the Masters of the past, must overcome enormous obstacles, as Giorgio Morandi also claimed, “There is nothing or very little new in the world,” and therefore to be original one should paint keeping in mind social, technological and scientific evolutions.

There is a saying 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 granted only to a few chosen people who, capable of seeing what others often do not perceive, manage to transform the emotions that arise from small things, from a gesture, a caress, a look, 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 minutiae, rigor and imagination a painting style that, while recalling Masters of the past, proves that the artist has learned from their lessons and possesses an impeccable technique, presenting a uniqueness and visible individuality in that touch of elegant modernity present in every single creation, making him a rare bird in the national art scene.
Bouquets of flowers and ripe, lush fruit, laid on high walls of marble worn by time and often smeared with 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, usually captured at dusk when the green ray greets the sun and welcomes the moon, emerges with even greater force what Zenerato bans on the marble boards in the foreground, where an ever more vivid color range—from red to yellow to green and all the warmer tones of the rainbow—dominates.
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.
People 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