Gianfranco Zenerato - ICON

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

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Among 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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“ICON” blends abstract forms and geometric fragments with vibrant colors, suggesting a tension between technology and humanity. The mouse, central and iconic symbol, emerges as a reflection on a society ever more engaged with and dependent on the digital world. The fragmented composition recalls the complexity of contemporary reality, while the use of contrasting tones generates dynamism and introspection.

International Archival Certificate - Certificate of Authenticity - File containing the artist’s professional trajectory
ONE-OF-A-KIND PIECE PAINTED 100% BY HAND - overall dimensions including frame 30x40x3.5 cm - acrylic and metallic pigments on panel - 2026
Ready to hang - Stunning high-quality LARSON-JUH RUBENS wooden frame, a globally recognized brand for refined and durable frames.

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 celebrated by institutions, critics and cultural organizations that recognized 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 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 merge figurative tradition, symbolism and contemporaneity. Each painting tells a story and invites the viewer to a personal, ever-new reading.

✓ Works created with high technical quality
Great attention to detail, compositional balance and chromatic intensity make each piece visually impactful and collectible.

✓ 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 conceived not only to be admired today but to preserve its artistic, cultural and collecting value over time

IMPORTANT NOTE FOR BIDDERS OUTSIDE THE EUROPEAN UNION
Shipping to non-EU countries is possible, but due to complex bureaucratic procedures (ministerial authorizations, customs procedures, etc.), additional costs are expected, already included in the shipping costs listed in the listing.
For the same reasons, delivery times may be longer than usual.
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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 more than 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 renowned art critic, Prof. Giammarco Puntelli.

SELECTED CRITICS’ NOTES FROM WELL-KNOWN ART EXPERTS:

Gianfranco Zenerato is part of that movement of 1970s artists, 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 mark the threshold of secular redemption. It is a symbolism-rich vision from a modern-school painter 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 classical nature of these silent images interrupts the suspended atmosphere of a gray world, the contemporary one, which disturbs our dreams. (Paolo Levi)

In this unsettling yet explicit visual message, the dialogue between chromatic simplicity and harmony of forms testifies to expressive tension and the mastery of a skilled artist. Interesting and original is the 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 imaginary, organized according to ordered sequences of his mental elaborations. His fanciful constructions could confuse critical judgment in defining him as a surrealist. This is not correct, as he does not present an absurd unreal imaginary, but rather 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 a reality built by the mind of a visionary. His works have a strong scenographic component, and those who delve into these messages are left to decipher what meaning the author attributed to them. He plays with symbols and allusions 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 skill into a depiction of anticipation, where modernity meets a time that no longer exists to reconnect us with feelings... (Giammarco Puntelli)

The author focuses on the overlap and intersection of genres, on an insinuating and incisive metaphorical research into subjects and colors. With a brilliant intuition, he unifies past (still life), present (female image) and future (symbolism, cryptic writing...) so that the work becomes an artistic but also literary and metanarrative paradigm. The painter pushes to identify a new visual universe, probes the limits of traditional iconography to demonstrate how painting today — amid much noise — remains an original discipline. The artist’s creativity then reaffirmed — thanks also to the radiant chromatics — how the approach tied to gender still has a rightful place in 21st-century painting.

Zenerato’s painting leads us to a vision of reality operated on three levels. It is a time-travel journey that, through various experiments, has brought his vision to a present that “looks” to the past as an ideal but now lost world, and to a future full of artificial and artificial contaminations.
It is a warning and a notice the message that emerges from the elements on the canvas surrounding his overall vision. The “drum kit” that we find as a fixed element 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 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 ground between past and future.
Gianfranco, like an Odysseus, 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 before the complexity of a world he created, the technological one, that is slipping from his grasp and he feels the need to return to where he started. Thus the cyclic return begins, 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 departing and then returning. When looking to the future, we can only turn our gaze to the past to not lose our roots, not to be dehumanized by the technological and post-technological world.
Each journey puts rationality and emotions on the same level, arousing doubts and fears, daily times distort and take on different meanings.
Moving 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. To depart is to face separation from the “old self,” made of habits, roles and certainties. Departing is still freedom, and even if this freedom is limited because one faces the unknown, it still manages to put the past in order. 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 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 the journey, 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 a placement: it is as if the loss of identity were a disconsolate resignation to the loss of connection with the past, and even the elements of still lifes become, in some cases, almost absent and overwhelmed by the technological ones.
Therefore it becomes essential to protect oneself from this advancing future, dangerous and almost uncontrollable, and to retreat to something known and ancient where even “illusions are real.”
With Gianfranco Zenerato we truly have the opportunity to travel through dreams, signs and symbols, where each of us will see ourselves 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, become aware of the relativity of values and of our own and others’ points of view. We may lose ourselves and then find ourselves again, realizing a common nature, destiny, and identity. (Gaetana Foletto)

The artist, starting from classic pasticism with a language of pre-abstract figurative, within the backdrop of his inner historicizing cosmos, shifts the mobile cursor of his developing consciousness, up to the extreme emergencies of the present, subduing his learned technique to the energy of dream, sign, symbol and especially color, rich in clarity and tonal purity, to interact with the present even in its technological aspect. His modernity is genuinely psychological and an expressive outpouring of his expressive charge of transavant-garde citing late 20th century onward... with Caravaggesque perspective overlaps... and modern psychology of post-Renaissance extraction (Rembrandt...). Zenerato has broad creative potential historically, cleverly combining it poetically, assembling, making the lyric poetry of the soul resonate 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, engaging with the present. (Prof. Alfredo Pasolino)

Very interesting his research: figurative art achieves scenic effects in a space where a symbolic frequency vibrates, entrusted from time to time to dream, to myth, or to 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 seems it has never been said before. (Goethe)

It is necessary to start from Goethe’s incisive phrase to speak 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 already been done and today the artist who seeks to conquer his own individuality, without being influenced by currents and by the Masters of the past, must overcome enormous obstacles because as Giorgio Morandi also claimed: “There is almost nothing new in the world.” So to be original one should paint keeping in mind social, technological and scientific evolutions.

It is said that art is for everyone but not for everyone; everyone has the right to be moved by a masterpiece, but painting and creation is a gift God has granted to only a few elect who, capable of seeing what others often do not perceive, manage to transform the emotions that arise from little things, from a gesture, from a caress, from a glance, into tones that vibrate and color the dullness of the world around us.
Among these lucky ones we must certainly include Master Zenerato, a talented artist who makes meticulousness, rigor and imagination a pictorial style that, while echoing the masters of the past, shows that the artist has learned from them a flawless technique, presents 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 landscape.
Flower canopies and mature, lush fruit laid on high marble walls worn by time and often defaced by the amorous drawings of two young lovers intertwine with objects of modern daily life, such as a CD-ROM, a mouse, a spatula, which become the 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 with even greater vigor what Zenerato banishes on the marble slabs in the foreground, where a color ever more vibrant ranges from red, to yellow, to green, and to all the warm tones of the rainbow.
And the rainbow seems to overlook 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 manages to represent what he feels by filtering the ugliness and negativities that our world carries with it.
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.