Gianfranco Zenerato - MOTIONLESS SILENCE

COLLECTORS AND ART INVESTORS OPPORTUNITIES
Original 1999 work, today practically impossible to obtain. A historic piece from Gianfranco Zenerato’s production, destined to attract particular interest among collectors.

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

ADD AN EXCLUSIVE AND DISTINCTIVE WORK TO YOUR COLLECTION, CAPABLE OF ENHANCING THE PRESTIGE OF YOUR ARTISTIC PROPERTY!

- 220 works sold
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One-of-a-kind piece 100% HAND PAINTED

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 exhibiting activity.

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

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

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

✓ Not mere decoration
Each work arises from a research journey developed over more than three decades of professional activity and represents a synthesis of the artist’s artistic 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 collecting value over time.

"MOTIONLESS SILENCE" depicts a nude female figure, kneeling and absorbed, embodying a moment of suspension between reality and interiority. The rendering of the body, delicate and luminous, emphasizes the fragility of the human condition, while the geometric background and gentle chromatic tones reference a higher, almost cosmic order. The work becomes a dialogue between corporeality and abstraction, between sensitive life and the search for universal harmony. The title reinforces this atmosphere of quiet, suggesting a time immobile yet rich in meaning. In this context, the red drape, small but intense, breaks the tone balance and introduces passion and vital force that escape every rational scheme. It is the sign that life, with its pulsions, remains irreducible in the face of any abstract perfection. The work offers itself as a meditation on the relationship between silence and vitality, order and fragility, returning an intimate, universal and deeply human image.

One-of-a-kind piece 100% HAND PAINTED - International archival certificate - Certificate of authenticity - File containing the artist’s artistic career - total dimensions including frame 67.5x77.5x5 cm - oil on panel - 1999
Wonderful white-painted wooden frame, handcrafted (as in photo)

GIANFRANCO ZENERATO (Professional Artist - Italy)
Active since 1990, he has pursued 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 prestigious 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...

IMPORTANT NOTE FOR BIDDERS OUTSIDE THE EUROPEAN UNION
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Some critiques from well-known sector experts:

Gianfranco Zenerato belongs to a group of 1970s artists who are stern messengers to Western society. While Milanese Antonio Recalcati and Roman Franco Mulas expressed social anger, Zenerato bears a poignant warning, where the defeat of man can also represent the threshold of secular redemption. It is a symbolism-rich vision of a modern painter who skillfully reconciles research with experimentation. (Paolo Levi)

You realize from 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 diverts us from dream. (Paolo Levi)

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

Gianfranco Zenerato develops symbolic narratives that gradually reveal the infinite possibilities of a fertile imagination, organized according to the ordered sequences of his own mental elaborations. His imaginative constructions could thus confuse critical judgment in defining him as a surrealist. This is not accurate, as he does not present an absurd and unreal imagination, 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 the reality built by the mind of a visionary. His works have a strong scenographic component, and those who search these messages remain to decipher what meaning the author attributed to them. Indeed, he plays with symbols and hints and enjoys confusing interpretive coordinates of what could be the plot of a story disguised as unreality. (Salvatore 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 reconnect us with the feelings... (Giammarco Puntelli)

The author focuses on overlap and intersection of genres, on a research that is allusive and metaphorical, incisive in subjects and colors. With a striking 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. He presses the painter to identify a new visual universe, to explore the limits of traditional iconography to demonstrate how painting today — amid much noise — remains an original discipline. The artist’s creativity then reaffirms — thanks to vivid chromatic hues — that the approach tied to the genre still has a right of citizenship in 21st-century painting.

Gianfranco Zenerato’s painting leads us to a three-level vision of reality. It is a journey through time that we undertake with the artist, who through various experiments has come to place his vision in a present that “looks” to the past as an ideal world, but now lost, and to a future filled with artificial and artificed contaminations.
It is a warning and admonition that emerges from the elements placed on the canvas surrounding his overall vision. The fixed element we find as a constant, the “drumbeat,” says “beware,” time is about to run 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 link with the past, with a world where nature was predominant.
The female element, placed on the plane of present time, represents the archetype of Mother Earth set 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. 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 away from him, and thus feels 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 find ourselves and the female figure thus becomes a symbol of the one who allows us to be reborn.
The words “to leave” 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 allusion, this departure and return. When looking to the future, we have no choice but to look back at the past to not lose our roots, not to be dehumanized by the technological and post-technological world.
Every journey places rationality and emotions on the same plane, raises doubts and fears, and the times of everyday life distort and take on different meanings.
Going toward the future becomes a challenge, captured in the gaze of the female figure, but also a danger because it is almost a loss of identity. When departing, one must face the separation from the “old self,” made of habits, roles and certainties. Leaving is still freedom, and even if it is limited because it is facing 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 focus of contraction is the direction from which one comes, and in Zenerato’s works you feel this sense of origin from one place and direction toward another. At the center the female figure as a point of reference: it is the artist’s conscience, 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 shattered because the artist himself does not recognize himself in that placement: it is as if the loss of identity were a resigned acceptance of losing the connection with the past, and even the elements of still lifes sometimes become almost absent and overshadowed by technological ones.
Thus it becomes essential to protect oneself from this advancing and almost uncontrollable future, and to seek refuge in something known and ancient where even “illusions are real.”
With Gianfranco Zenerato there is really the possibility to travel through dreams, signs and symbols, where each of us will see ourselves reflected in a mirror. Departing with him will temporarily obscure those mirrors in anticipation of discovering a different image of ourselves. We may find our essence, realize the relativity of values and perspectives of our own and others. We may get lost and then find ourselves, realizing a shared nature, destiny, and identity. (Gaetana Foletto)

The artist, starting from classical pastiche with a language of pre-abstract figurative, across the interior of his historìcizing cosmos moves the movable cursor of his developing consciousness, up to the extreme urgencies of the present, subduing his learned technique to the energy of dream, sign, symbol and especially the color, rich in clarity and timbral purity, to interact with the present even technologically. His modernity is genuinely psychological and expressive of his expressive charge of late 20th-century transavant-garde quotationist with overlapping Caravaggesque perspectives ... and modern post-Renaissance psychology (Rembrandt ...). Zenerato has wide creative potential, poetically combining them, assembling, vibrating the lyre of the soul’s poetry on the coordinates of art history in universal values, and in the cadence of his infinite imaginative evolution, through the hyperrealism of his visionary dream, a window open added to reason, dialoguing with the present. (Prof. Alfredo Pasolino)

Very interesting is his research: the figuration reaches scenographic effects in a space where a symbolic frequency vibrates, given 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 makes it seem as if it has never been said before.
(Goethe)

It is necessary to start from Goethe’s incisive phrase to speak of 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, everything has already been done, and today the artist who seeks to conquer his own individuality, without being influenced by past currents and masters, must overcome enormous obstacles because, as Giorgio Morandi also claimed, “There is almost nothing new in the world,” and therefore to be original one should paint with consideration of 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 creating is a gift granted by God to only a few chosen who, capable of seeing what others often do not perceive, can transform the emotions arising from small things, from a gesture, from a caress, from a glance, into vibrant tones that color the grayness of the world around us.
Among these fortunate ones one must surely count Master Zenerato, a talented artist like few, who makes meticulousness, rigor and fantasy a painting style that, although recalling ancient masters, proves that the artist has learned from the lessons of fine painting, stealing an impeccable technique from the greats, presenting a uniqueness and an individuality visible in the touch of elegant modernity present in every single creation, which makes him a white crow in the national artistic panorama.
Fragrant arrangements of flowers and ripe, lush fruit, laid on tall marble walls worn by years and often smeared with 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 bridges 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 bans on the marble boards in the foreground, where a color ever more vivid ranges from red, to yellow, to green, and all the warm 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, enabling him 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, 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 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