Gianfranco Zenerato - ABSTRACT MOUSE

OPPORTUNITIES FOR ART COLLECTORS AND INVESTORS

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

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

- 225 works sold
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Unique piece 100% HAND-PAINTED - FRAME INCLUDED AS A GIFT!
International archival certificate - Certificate of authenticity - File containing the artist's artistic trajectory - total dimensions including frame 49x59x4.5 cm - acrylic and quartz sand on panel - Ready to hang - Beautiful handcrafted Baroque wooden frame (as in photo)

WHY COLLECT A WORK BY GIANFRANCO ZENERATO

✓ Over 35 years of professional career
Active since 1990, Gianfranco Zenerato has gradually developed a personal, recognizable artistic language that is 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 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 eminent 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 piece visually striking and collectible.

✓ Not just simple 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.

An opportunity for the collector

Acquiring a Gianfranco Zenerato work means owning an original creation 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.
"Abstract Mouse" is a visual manifesto of our time.
A work that transcends mere 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 - symbol of the digital era - a contemporary icon.
Purchasing it means possessing a fragment of this dialogue, a work that never ceases to question and fascinate.

IMPORTANT NOTE FOR BIDDERS OUTSIDE THE EUROPEAN UNION
Shipments to non-EU countries are possible, but due to complex bureaucratic procedures (ministry authorizations, customs paperwork, etc.), additional 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 significant 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 renowned experts in the field:

Gianfranco Zenerato belongs to that current of artists of the seventies, stern messengers toward Western society. While Milanese Antonio Recalcati and Roman Franco Mulas expressed social anger, Zenerato instead carries a poignant warning, where humanity’s defeat may also foreshadow the threshold of secular redemption. It is a vision dense with symbolic meanings, of a painter from a modern school who, with talent, 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 distracts us from dreams. (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. The interesting and new blend 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 imagination organized according to ordered sequences of his mental elaborations. His fanciful constructions could thus confuse critical judgment in defining him as a surrealist. This is not correct, as he does not offer an absurd or 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 a 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 which 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 skill into a figurative scene of anticipation, where modernity meets a time that no longer exists to reconnect us with feelings... (Giammarco Puntelli)

The author relies on overlapping and intersection of genres, on an incisive allusive and metaphorical research in the subjects and colors. With a brilliant intuition he unifies the past (still life), present (the female image), and future (symbolism, cryptic writing, etc.), so the work becomes both an artistic and literary and metanarrative paradigm. The painter should identify a new visual universe, probe the limits of traditional iconography to demonstrate how painting today — amid so much clamor — remains an original discipline. The artist's creativity thus reaffirms — also thanks to the striking chromies — how the approach tied to the genre still has rights in 21st-century painting.

Zenerato's painting leads us to a three-level vision of reality. It is a journey through time that we embark on 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 a future full of artificial and artful contaminations.
It is a warning and a caution that emerges from the elements on the canvas surrounding his overall vision. The fixed “drumbeat” tells 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 ties with the past, with a world where nature was dominant.
The feminine 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 front of the complexity of a world he created, the technological one, which is slipping away from him and feels, therefore, 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 rediscover 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 circular temporal 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, to not become dehumanized by the technological and post-technological world.
Each journey puts reason 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 female gaze, but also a danger because it is almost a loss of identity. Starting implies facing separation from the “old self,” made of habits, roles, and certainties. Departing is 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 one is heading, while the nucleus of contraction is the direction from which one comes, and in Zenerato’s works one senses this sense of coming from one place and moving toward another. At the center the female figure as a reference point: it is the artist’s conscience, the heart of going, with its rhythms, noises, times, difficulties, discoveries, and emotions.
The future temporal plane that represents arrival is, in some works, dehumanized, and the female figure is almost crumbled because the artist himself does not recognize himself in that position: 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 life become, in some cases, almost absent and overwhelmed by those of technology.
Thus it becomes essential to protect ourselves from this future, which advances in a dangerous and almost uncontrollable way, and to 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 ourselves reflected in a mirror. Departing with him will mean momentarily dimming 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 lose ourselves and then find ourselves again, realizing a common nature, a common destiny, a shared identity. (Gaetana Foletto)

The artist, starting from classical pasticism with a language of figurative pre-abstract, within the interior of his historicizing universe moves the movable cursor of his emerging developmental consciousness, up to the extreme urgencies 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 its technological form. His modernity is genuinely psychological and an expressive outpouring of his expressive charge of the postmodern Transavant-garde citation of late 20th century onward... 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 resonate on the coordinates of art history in universal values, and in scanning along the cursor of his infinite imaginative evolution, through the hyperrealism of his visionary dream, a window opened plus reason. in dialogue with the present. (Prof. Alfredo Pasolino)

Very interesting is his research:figuration achieves scenic effects in a space where a symbolic frequency vibrates, entrusted from time to time 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 talk about the rich and innovative painting of Gianfranco Zenerato, and this is because through that simple sentence a great truth is told: in painting, almost everything has already been done, and today the artist who seeks to achieve his own individuality, without being influenced by currents and masters of the past, must overcome enormous obstacles because, as Giorgio Morandi also claimed, “There is little to nothing new in the world,” and thus to be original one should paint while considering social, technological, and scientific evolutions.

It is said that art is for everyone but not for everyone; everyone thus has the right to be moved by a masterpiece, but painting and creating is a gift that God granted only to a few elect who, capable of seeing what others often do not perceive, manage to transform the emotions that arise from small things, from a gesture, from a caress, from a glance, into vibrant tones that color the dullness of the world around us.
Among these lucky ones surely lies Maestro Zenerato, a talented artist who makes meticulousness, rigor, and fantasy one painting style that, even if it evokes past Masters, shows that the artist has learned from the lessons of beautiful painting, borrowing an impeccable technique, presenting a uniqueness and an identifiable individuality in that touch of elegant modernity present in every single creation, making him a white crow in the national artistic panorama.
Floral Canes and mature, lush fruit laid on high walls of marble worn by time and often smeared with romantic 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 panels in the foreground, where a color increasingly vivid 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-maker 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 negativities that our world carries with it.

Who has 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