Gianfranco Zenerato - ICON

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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.

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

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www.zenerato.com

Buying today a work such as “ICON” means making a farsighted gesture, similar to those who, in the ferment of the 1960s, 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 intercepts the present time 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 relaunches it in another, reflective and disturbing dimension.
Whoever chooses today to engage in dialogue with this vision does not perform a simple act of collecting, but adheres to a deep intuition: that in the artwork there is not a decorative object, but a vector of meaning, a cultural investment capable of gaining relevance over time that challenges the market’s linear logic.
Just as it happened then, in those decisive years when art seemed to lose every reference, yet was building the foundations of the present, today some artists are drawing new horizons. “ICON” is one of those clear, strong, unmistakable signals. And to recognize them before they become obvious to everyone is a privilege of a few.

International Archiving Certificate - Certificate of authenticity signed by the author - File containing the artist’s professional trajectory
ONE-OF-A-KIND HAND-PAINTED PIECE - total dimensions including frame 39x49x2.5 cm - acrylic, luminescent pigments, metallic colors and sand on canvas - 2024
Ready to hang - Beautiful high-quality wooden frame

WHY COLLECT A GIANFRANCO ZENERATO WORK

✓ 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 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 for 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.

✓ 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 numerous 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 created with high technical quality
Great attention to detail, compositional balance, and color intensity make every work a visually strong and collectible piece.

✓ 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.

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 maintain its artistic, cultural, and collectible 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 handling, etc.), additional costs apply, already included in the shipping fees 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 embarked on an artistic path that 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 renowned art critic, Prof. Giammarco Puntelli.

SOME REVIEWS BY NOTABLE EXPERTS IN THE ART FIELD:

Gianfranco Zenerato belongs to that line 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 humanity’s defeat can also signify the threshold of secular redemption. It is a vision rich in 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 classicism of these silent images interrupts the suspended atmosphere of a gray world, the contemporary one, that distracts us from the dream. (Paolo Levi)

In this unsettling yet explicit visual message, the dialogue between chromatic essentialism and form harmony testifies to expressive tension and the mastery of a skilled artist. Interesting and new is the mixture of flowers, fruits, and technological objects of contemporaneity. (Stefania Bison)

Gianfranco Zenerato develops symbolic narratives that reveal, step by step, the infinite possibilities of a fertile imaginary, organized according to orderly sequences of his mental elaborations. His imaginative constructions could confuse critical judgment in defining him as a surrealist. This is not correct, because he does not present us with an absurd or unreal imaginary, but rather, he 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 those who examine these messages still have to decipher what meaning the author attributed to them. He indeed plays with symbols and allusions and enjoys confusing the interpretive coordinates of what could be the plot of a story camouflaged as unreality. (Salvatore Russo)

With Gianfranco Zenerato we have an excellent idea, transformed with great ability into a portrayal of waiting, where modernity meets a time that no longer exists to reawaken our feelings… (Giammarco Puntelli)

The author relies on overlapping and intersecting genres, on an incisive allusive and metaphorical research into subjects and colors. With stunning intuition, he unifies past (still life), present (the female image), and future (symbolism, cryptic writing…) so that the work becomes an artistic but also literary and metanarrative paradigm. The painter aims to discover a new visual universe, to probe the limits of traditional iconography to demonstrate how painting today — amid much noise — remains a genuine discipline. The artist’s creativity then reaffirms — also thanks to the dazzling chromatics — that the genre’s approach still has a rightful place in 21st-century painting.

Zenerato’s painting guides us to a three-tier view of reality. It is a journey through time that we undertake 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 lost world, and a future full of artificial and artificial contaminations. It is a warning and a caution the message that appears on the canvas surrounding his overall vision. The fixed “battery” element tells us to “watch out”; time is about to run out, and the strong pull 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 ruled.
The female element, positioned on the temporal plane of the present, represents the archetype of Mother Earth placed in the middle ground 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. 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, which is slipping from his hands and 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 the 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, we are left to turn our gaze to the past to not lose our roots, not let ourselves be dehumanized by the technological and post-technological world.
Each journey places 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 feminine, but also a danger because it is almost a loss of identity. Starting requires facing separation from the “old self,” made of habits, roles, and certainties. Departing is, anyway, freedom and even if this is limited because we head into the unknown, it manages to bring order to the past. The moving perspective becomes centrifugal and centripetal; the expansion flow is the direction we are going, while the contraction’s focal point is the direction from which we come, and in Zenerato’s works you feel this sense of belonging to 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’s temporal plane, representing the arrival, in some works, is dehumanized, and the female figure is almost eroded 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 losing the bond with the past, and even the elements of still lifes become, in some cases, almost missing and overshadowed by technological elements.
It becomes fundamental, then, to protect oneself from this future, advancing dangerously and almost uncontrollably, and to retreat into 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 while awaiting a different image of ourselves. We may find our essence, realize the relativity of values and viewpoints, and perhaps lose ourselves and then find ourselves again, becoming aware of a common nature, destiny, and identity. (Gaetana Foletto)

The artist, starting from classical pasticism with a language of pre-abstract figurative, within the inner historical universe of his evolving consciousness expands the movable cursor of his development, up to the extreme emergencies 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 also technologically. His modernity is genuinely psychological and an intensive expression of his expressive charge of the postmodern and citationist transavant-garde from the late 20th century onward... with Caravaggesque perspective overlays ... and modern psychology of post-Renaissance extraction (Rembrandt ...). Zenerato has wide historical creative potential, poetically combining them, assembling, making the lyre of the soul’s poetry 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 plus reason. dialoguing with the present. (Prof. Alfredo Pasolino)

Very interesting is his research: figurative work achieves scenic effects in a space where a symbolic frequency reverberates, 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 present 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 sentence to discuss the rich and innovative painting of the artist 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 conquer his own individuality, without being influenced by the currents and by the 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 while considering social, technological, and scientific evolutions.

It is said that art is for everyone but not for everyone; everyone, therefore, has the right to be moved before a masterpiece, but painting and creating is a gift that God has granted only to a few chosen ones 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 look, into vibrant tones that color the dullness of the world around us.
Among these fortunate ones we must undoubtedly include Master Zenerato, a talented artist who makes minutiae, rigor, and fantasy one painting style that, though recalling earlier masters, proves that the artist has learned from the lessons of fine painting, stealing flawless technique from the greats, presenting a uniqueness and an individuality visible in that touch of elegant modernity present in every single creation, making him a rare bird in the national artistic scene.
Bunches of flowers and mature, lush fruit rest on high marble walls worn by time and often smeared with the amorous drawings of two young lovers, intertwined 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 force what Zenerato bans on the marble tablets in the foreground, where an increasingly 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 initially poetic and then pictorial, with which he manages to represent what he feels by filtering the ugliness and negativity 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, 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