Gianfranco Zenerato - PSYCHEDELIC MOUSE

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Over 180 collectors have purchased Gianfranco Zenerato works on Catawiki.

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OPPORTUNITIES FOR COLLECTORS AND ART INVESTORS

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

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"PSYCHEDELIC MOUSE" is a visual manifesto of our time. A work that transcends simple representation to become a reflection on the relationship between man and technology, between real and virtual. Its strength lies in the balance between abstraction and evocation, in a painterly gesture that makes the mouse — the symbol of the digital era — a contemporary icon. Acquiring it means owning a fragment of this dialogue, a work that continually questions and fascinates.

International Archive Certificate - Certificate of authenticity - File containing the artist’s professional trajectory
ONE-OF-A-KIND PIECE PAINTED 100% BY HAND - total dimensions including frame 59x49.5x3.5 cm - acrylic and quartz sand on panel - 2023
Ready to hang - Beautiful handcrafted Baroque wooden frame of high quality

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 art 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 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.

✓ Esteemed by specialized critics
His artistic research has been analyzed and presented by renowned 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 unite figurative tradition, symbolism and contemporaneity. Each painting tells a story and invites the viewer to a personal and ever-new reading.

✓ Works made with high technical quality
Great attention to detail, compositional balance and chromatic intensity make each piece a work with strong visual and collectible 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 recognitions and a consolidated presence in international collections.

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

IMPORTANT NOTICE FOR BIDDERS OUTSIDE THE EUROPEAN UNION
Shipments to non-EU countries are possible, but due to complex bureaucratic procedures (ministry authorizations, customs procedures, etc.), additional costs are anticipated, already included in the shipping costs indicated in the listing.
For the same reasons, delivery times may be longer than normal.
Thank you for your understanding.

.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 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 well-known art critic, Prof. Giammarco Puntelli.

SOME CRITIQUES FROM LEADING INDUSTRY EXPERTS:

Gianfranco Zenerato belongs to that line 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 man’s defeat can also represent the threshold of secular redemption. It is a vision rich in symbolic meaning, of a modern-school painter who, with talent, reconciles exploration 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 classicism of these silent images interrupts the suspended atmosphere of a gray world, the contemporary one, which detaches us from the dream. (Paolo Levi)

In this disturbing yet explicit visual message, the dialogue between chromatic essentialism and the harmony of forms testifies to the expressive tension and the mastery of a skilled artist. An interesting and original blend of flowers, fruits and contemporary technological objects. (Stefania Bison)

Gianfranco Zenerato develops symbolic narratives that uncover, step by step, the infinite possibilities of a fertile imaginary, organized according to ordered sequences of his mental elaborations. His fantastical constructions could thus confuse critical judgment in defining him as a surrealist. This is not correct, as he does not offer an imaginary world that is absurd or unreal, 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 the 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 indeed plays with symbols and allusions and enjoys confusing the interpretative coordinates of what may be the weave of a story camouflaged in unreality. (S. Russo)

With Gianfranco Zenerato we have an excellent idea, transformed with great ability into a figurazione di attesa, where modernity meets a time that no longer exists to rekindle our feelings... (Giammarco Puntelli)

The author relies on overlaying and intersecting genres, on an allusive and metaphorical research that incisively addresses 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 yet literary and metanarrative paradigm. The painter is pushed to discover a new visual universe, to probe the limits of traditional iconography to demonstrate how painting today — amid so much noise — is still an original discipline. The artist’s creativity then reaffirms — also thanks to the vivid chromies — how the genre-driven approach still has a right of citizenship in 21st-century painting.

Zenerato’s painting leads us to a three-level vision of reality. It is a journey through time that the artist takes us on, who through various experiments has placed his vision in a present that “looks” to the past as an ideal world, but now lost, and a future full of artificial and artificed contaminations.
It is a warning and a forewarning the message that emerges from the elements 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) 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 placed in the middle between past and future.
Gianfranco, like Odysseus, travels in this temporal dimension, in search of the forces that sustain and shape us, alter or govern our fate. Driven 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 therefore 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 start” 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 starting and then returning. 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 puts rationality and emotions on the same plane, arouses 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. When starting out one must face 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 in which one is going, while the focus of contraction is the direction from which one comes, and in Zenerato’s works one has this sense of coming from one place and moving 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, sounds, times, difficulties, discoveries and emotions.
The temporal plane of the future which represents arrival is, in some works, dehumanized, and the female figure is almost crumbling because the artist himself does not recognize himself in that position: it is as if the loss of identity were a desolate resignation to the loss of connection with the past and even the still lifes’ elements become, in some cases, almost absent and overwhelmed by the technological ones.
Therefore it becomes essential to protect oneself from this future, which advances dangerously and almost uncontrollably, and to seek refuge in something known and ancient where even “illusions are real.”
With Gianfranco Zenerato we truly have the chance to travel through dreams, signs and symbols, where each of us will see himself reflected 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 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 classical pastism with a language of pre-abstract figurative, within the background of his inner historicizing cosmos, moves the movable cursor of his developing consciousness, up to the extreme emergences 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 engage with the present even technologically. His modernity is genuinely psychological and an intensive expression of his expressive charge of variables of late 20th-century postmodern citational transavant-garde with Caravaggesque perspectival overlays… and modern post-Renaissance-inspired psychology (Rembrandt…). Zenerato has broad creative potential, poetically blending them, assembling, making the strings of the soul’s poetry vibrate on the coordinates of art history in universal values, and in 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 is his research: figuration achieves scenographic effects in a space where a symbolic frequency vibrates, entrusted each time to dream, myth, or everyday 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 it has never been said before. (Goethe)

It is necessary to begin from Goethe’s incisive phrase to talk about the rich and innovative painting of Gianfranco Zenerato, and this is because through that simple sentence one tells a great truth, namely that in painting 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 nothing or almost 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 everyone, so 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 chosen who, able to see what others often do not perceive, can transform the emotions that arise from small things, from a gesture, from a caress, from a look, into vibrant tones that color the dullness of the world around us.
Among these lucky ones we must certainly count the Master Zenerato, a talented artist like few, who makes minutiae, rigor and imagination one painting style that, although it recalls past Masters, proves that the artist has learned from the lessons of fine painting and borrowed 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 scene.
Vines of flowers and ripe, lush fruit, laid on high walls of marble worn by the years and often smudged 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 links 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 tables in the foreground, where a color ever more vivid stands out, ranging 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 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