Gianfranco Zenerato - ICON

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

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OPPORTUNITY FOR COLLECTORS AND ART INVESTORS

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

ADD TO YOUR COLLECTION AN EXCLUSIVE AND DISTINCTIVE WORK THAT CAN ENHANCE THE PRESTIGE OF YOUR ART HERITAGE!

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

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www.zenerato.com

WHY COLLECT A GIANFRANCO ZENERATO WORK

✓ 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 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 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 blend figurative tradition, symbolism and contemporaneity. Each painting tells a story and invites the viewer to a personal and ever-new interpretation.

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

✓ Not mere 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.

A unique 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 preserve its artistic, cultural and collecting value over time

Buying today a work like “ICON” means taking a farsighted step, analogous to those who, in the ferment of the Sixties, recognized the disruptive force of a new artistic vision, apparently incomprehensible at the time, but destined to redefine the parameters of contemporary art.
“ICON" is not just a painting: it is an aesthetic and conceptual manifesto that captures the present moment and transcends it. The everyday object, the chromatic stratification, the material inlay that simulates the technological surface—all contribute to a language that not only dialogues with the history of art but also propels it into another, reflective and disturbing dimension.
Those who choose to engage with this vision today do not perform a simple act of collecting; they embrace a deep intuition: that in art there is not merely a decorative object, but a carrier of meaning, a cultural investment capable of gaining, over time, a relevance that challenges the market’s linear logic.
Just as happened then, in those crucial years when art seemed to lose every reference, yet was laying the foundations of the present, today too some artists are tracing new horizons. “ICON” is one of those clear, strong, unmistakable signals. And recognizing them before they become obvious to everyone is the privilege of the few.

Hand-painted unique piece -
International archival certificate - Certificate of authenticity signed by the author - File containing the artist’s professional journey - Acrylic, metallic pigments and phosphorescent varnishes on canvas - total dimensions including frame 25x35x6 cm - It glows in the dark - 2025
Ready to hang - Beautiful handcrafted wooden frame
(Modern icons series)

IMPORTANT NOTE FOR BIDS OUTSIDE THE EUROPEAN UNION
Shipments to non-EU countries are possible, but due to complex bureaucratic procedures (ministerial authorizations, customs formalities, etc.), extra costs are expected, already included in the shipping costs indicated in the listing.
For the same reasons, delivery times may be longer than usual.
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 public and private collections of note 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 from well-known experts in the art field:

Gianfranco Zenerato belongs to that current of seventies artists, stern messengers to Western society. While Milanese Antonio Recalcati and Roman Franco Mulas expressed social anger, Zenerato instead carries a poignant warning, where mankind’s defeat can also be the threshold of secular redemption. It is a vision dense with symbolic meaning, of a painter from a modern school who, with talent, reconciles research with experimentation. (Paolo Levi)

One notices in this emblematic image a sort 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 essentialism and the harmony of forms testifies to the expressive tension and the masterful skill of a skilled artist. Interesting and new is the mixture of flowers, fruits and contemporary technological objects. (Stefania Bison)

Gianfranco Zenerato develops signified narratives that gradually reveal the infinite possibilities of a fertile imaginary, organized according to ordered sequences of his mental elaborations. His imaginative constructions could therefore confuse critical judgment in defining him as a surrealist. This is not correct, as he does not present an imaginary, absurd, unreal world, but on the contrary, paints a reality familiar to us, with a purpose that is communicative and highly symbolic. (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 scenic component, and for those who scrutinize these messages it remains to decipher what meaning the author attributed to them. He indeed plays with symbols and cues and enjoys confusing the interpretive coordinates of what could be the weave of a story camouflaged in unreality. (S. Russo)

With Gianfranco Zenerato we have an excellent idea, transformed with great ability into what is a depiction of expectation, where modernity meets a time that is no longer there to make us reconnect with feelings... (Giammarco Puntelli)

The author relies on overlaying and intersecting genres, on an incisive allusive and metaphoric search in subjects and colors. With a radiant intuition he unifies past (still life), present (the female image) and future (symbolism, cryptic writing...) so that the work becomes both an artistic and literary and metanarrative paradigm. It presses the painter 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 thus reaffirms — thanks also to the striking chromatices — how the approach tied to the genre still has citizenship in 21st-century painting.

The painting by Gianfranco Zenerato leads us to a vision of reality operated on three levels. It is a journey through time that we undertake with the artist, who through various experiments has come over the years to place his vision in a present that looks to the past as an ideal, but now lost, and a future full of artificial and artificial contaminations.
It is a warning and a notice the message that emerges from the elements placed on the canvas surrounding his overall vision. The “battery” we find as a fixed element tells us “beware,” time is about to run out, and the strong call of natural elements 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 dominant.
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, 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 in front of the complexity of a world he created, the technological one, which is slipping from his hands and thus feels the need to return to where he started. Thus the cyclicity returns in which 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 undertaken by Gianfranco Zenerato there is this temporal circular reference, this departure and then return. When looking to the future there remains only to turn the gaze 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.
Moving 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 departing one must face separation from the “old self,” made of habits, roles and certainties. Departing is freedom anyway, and even if this is limited because one faces the unknown, it manages to put order in 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, noises, times, difficulties, discoveries and emotions.
The future time plane that represents arrival is, in some works, dehumanized, and the female figure is almost eroded because the artist himself does not recognize himself in such a place: it is as if the loss of identity were a disconsolate resignation to the loss of ties with the past and even the still-life elements become, in some cases, almost absent and overwhelmed by the technological ones.
Thus it becomes essential, then, to protect oneself from this future, advancing dangerously and almost uncontrollably, 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 our own reflection in a mirror. Departing with him will mean momentarily darkening those mirrors in wait to discover 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 pastism with a language of pre-abstract figurative art, on the backdrop of his inward historicizing cosmos, moves the movable 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 that of color, rich in clarity, and timbre purity, to interact with the present even technologically. His modernity is genuinely psychological and an intensive expression of his expressive charge of the postmodern, late 20th-century-Citational Transavant-garde... with Caravaggesque perspective overlays ... and modern psychology of post-Renaissance extraction (Rembrandt...). Zenerato has broad 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 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: depiction achieves scenic effects in a space where a symbolic frequency vibrates, entrusted in turn to dream, to myth, or to daily reality, all harmonized by a splendid chromatic play.

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 express what they have to say in a way that seems it has never been said before.
(Goethe)

It is necessary to start from Goethe’s incisive phrase to talk about the rich and innovative painting of the artist Gianfranco Zenerato, and this is because through that simple phrase a great truth is told: 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 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 everyone, so 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, a caress, a look, into vibrant tones that color the greyness of the world around us.
Among these lucky ones one must undoubtedly include Master Zenerato, a talented artist who makes meticulousness, rigor and fantasy a painting style that, though it recalls past Masters, proves that the artist has absorbed the lessons of fine painting, stealing 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.
Blooms of flowers and ripe, lush fruits, laid on high walls of marble worn by the years and often smeared with the amorous drawings of two young lovers, intertwine with modern daily objects, like a CD-ROM, a mouse, a spatula, which become links between the 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 the color that Zenerato places on the marble boards in the foreground, where an ever more vivid color ranges from red, to yellow, to green, and 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 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 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