Gianfranco Zenerato - ABSTRACT MOUSE

COLLECTOR AND ART INVESTOR OPPORTUNITIES

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

COLLECT YOUR COLLECTION WITH AN EXCLUSIVE AND DISTINCTIVE WORK THAT ENHANCES THE PRESTIGE OF YOUR ART HERITAGE!

- 216 works sold
- 100% positive feedback
- 84 certified reviews

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www.zenerato.com

One-of-a-kind piece 100% HAND-PAINTED - Acrylic and quartz sand

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 alike.

✓ More than 600 exhibitions and artistic events
A constant presence in the national and international art scene, built through decades of exhibitions.

✓ Over 500 awards and recognitions
An artistic path recognized by institutions, critics and cultural organizations that have 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.

✓ 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 instantly recognizable style
Zenerato’s works combine figurative tradition, symbolism and contemporaneity. Each painting tells a story and invites the viewer to a personal and always new reading.

✓ Works executed with high technical quality
Great attention to detail, compositional balance and chromatic intensity make each piece a visually and collectorially striking work.

✓ 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.

"ABSTRACT MOUSE" stands as a visual reflection on the disintegration of form and its technological reflection. The mouse, an icon of digital subjectivity, dissolves into violent, almost explosive color fragments that seem to hint at a collision between instinct and interface.
The work, in its material dynamism and in the fragmentation of the line, investigates the boundary between human gesture and mechanical input, evoking a poetics of post-digital disorientation.

Piece 100% HAND-PAINTED
International archival certificate - Authenticity certificate signed by the artist - File containing the artist’s professional journey - Single hand-painted work - Acrylic and quartz sand on panel - total dimensions including frame 45x55x5 cm - 2025 - Ready to be hung - Handcrafted splendid wooden frame

IMPORTANT NOTE FOR BIDDERS OUTSIDE THE EUROPEAN UNION
Shipping to non-EU countries is possible, but due to complex bureaucratic procedures (ministry authorizations, customs procedures, etc.), additional costs are incurred, 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 embarked on an artistic path that led him to participate in over 600 art events, receiving national and international recognition 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.

Selected critiques by well-known sector experts:

Gianfranco Zenerato belongs to that cohort of 1970s artists, stern messengers to Western society. While Milanese Antonio Recalcati and Roman Franco Mulas expressed social anger, Zenerato is a bearer of a poignant warning, where the defeat of man can also signify the threshold of secular redemption. It is a vision rich in symbolic meanings, of a modern school painter who skillfully reconciles research with experimentation. (Paolo Levi)

One perceives in this emblematic image an 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 dreaming. (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 wise artist. Interesting and novel is the blend of flowers, fruits and contemporary technological objects. (Stefania Bison)

Gianfranco Zenerato develops symbolic narratives that reveal, step by step, the infinite possibilities of a fertile imaginary, organized according to ordered sequences of his mental elaborations. His fantastical constructions could confuse critical judgment in labeling him a surrealist. This is not correct, as he does not present an absurd imaginary world, but rather a reality familiar to us, with a deliberately communicative and highly symbolic purpose. (Sandro Serradifalco)

This Gianfranco Zenerato painting is technically well-structured, finely and richly articulated, and proposes reality built by the mind of a visionary. His works have a strong theatrical component, and it remains to decipher what meaning the author attributed to these messages. He plays with symbols and cues and enjoys confusing interpretive coordinates of what could be the intertwining of a story camouflaged as unreality. (S. Russo)

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

The author focuses on overlapping and intersecting genres, on a search that is allusive and metaphorical, incisive in subjects and colors. With a brilliant instinct he unifies past (still life), present (the female image) and future (symbolism, cryptic writing...) so that the work becomes an artistic and literary paradigm, metanarrative as well. He pushes the painter to discover a new visual universe, to probe the limits of traditional iconography to show how painting today — amidst much noise — remains a genuine discipline. The artist’s creativity, then, reaffirms — also thanks to the dazzling chromies — that the approach tied to gender still has a rightful place in 21st-century painting.

Gianfranco Zenerato’s painting leads us to a vision of reality operating on three levels. It is a journey through time that the artist takes us on, who through various experiments has come to place his vision in a present that looks to the past as an ideal but lost world, and to a future full of artificial and artificialistic contaminations.
It is a warning and notice that emanates from the elements on the canvas surrounding his overall vision. The fixed element, the “drum,” says “attention,” time is about to expire, and the foreground natural elements 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, a world where nature predominated.
The female 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 Odyssey, travels in this temporal dimension, seeking the forces that sustain and shape us, alter or govern our fate. Propelled 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 eludes him, and thus 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 again, and the female figure thus becomes a symbol of the one who allows us to be reborn.
The words "to depart" and "to bear" contain both 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, all that remains is to look to the past to avoid losing our roots, not to 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, and the rhythms 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. From the departure one must face separation from the “old self,” made of habits, roles and certainties. To depart is nevertheless 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 going, while the axis of contraction is the direction from which one comes, and in Zenerato’s works one has this sense of coming from one place and heading toward another. At the center is 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 that placement: it is as if the loss of identity were a desolate resignation to losing ties with the past, and even the elements of still lifes in some cases become almost absent and overwhelmed by technological elements.
So it becomes essential to protect ourselves from this advancing and almost uncontrollable future, and to seek shelter in something familiar 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 himself reflected in a mirror. Departing with him will mean momentarily darkening those mirrors while we await a different image of ourselves. We may find our essence, realize the relativity of values and the points of view of ours and others. We may get lost and then find ourselves again, realizing a common nature, a common destiny, a common identity. (Gaetana Foletto)

The artist, starting from classical pastism with a language of pre-abstract figurative, within the interior historicizing cosmos widens the movable cursor of his developing consciousness, up to the extreme urgencies of the present, subjugating his learned technique to the energy of dreams, signs, symbols and especially the color, rich in clarity and timbral purity, to interact with the present even technologically. His modernity is genuinely psychological and an intense expression of his expressive charge of late 20th-century transavant-garde quotationistic, with Caravaggesque overlays and modern psychology of post-Renaissance extraction (Rembrandt ...). Zenerato has wide creative potential, skillfully combining them, poetically, assembling, making the strings of the soul sing on the coordinates of art history into universal values, and in the cadence of his infinite imaginative evolution, through the hyperrealism of his visionary dream, a sunlit window added to reason, dialoguing with the present. (Prof. Alfredo Pasolino)

Very interesting is his research: figurative art achieves scenic effects in a space where a symbolic frequency vibrates, entrusted from time to time to dream, myth, or daily 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 talk about the rich and innovative painting of artist Gianfranco Zenerato, and this because through that simple sentence a great truth is told, 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, for as Giorgio Morandi also argued, “There is almost nothing new in the world,” so to be original one should paint considering 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 creation is a gift that God has 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 look, into vibrant tones that color the grayness of the world around us.
Among these lucky ones one must surely count Maestro Zenerato, a talented artist like few, who makes meticulousness, rigor and fantasy a painting style that, although recalling past masters in mind, proves that the artist has learned from the lessons of beautiful 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.
Caps of flowers and ripe, lush fruit rest on high marble walls eroded by years and often stained by the amorous drawings of two young lovers, intertwining 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, intensifies what Zenerato bans on the marble boards in the foreground, where an ever more vivid color range extends 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 who creates a style that is first poetic and then pictorial, with which he manages to represent what he feels by filtering 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...

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