Gianfranco Zenerato - ICON

OPPORTUNITY FOR COLLECTORS AND ART INVESTORS

Among the most appreciated contemporary artists and fastest 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 ART HERITAGE!

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

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www.zenerato.com

Unique piece 100% HAND-PAINTED

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 in the national and international art scene, built through decades of exhibition activity.

✓ Over 500 prizes and awards
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 criticism
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 industry professionals.

✓ 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 ever-new reading.

✓ Works created with high technical quality
Great attention to detail, compositional balance and chromatic intensity make every work a piece with strong visual and collecting impact.

✓ Not just a simple decoration
Each artwork is born from a research path 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 gaining possession of 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.

Piece unique 100% HAND-PAINTED
International Archival Certificate - Certificate of authenticity signed by the author - File containing the artist's career - total dimensions including frame 55x65.5x5 cm - acrylic, oil and sand on canvas - 2024
Ready to be hung - Stunning wood frame handcrafted

IMPORTANT NOTE FOR BIDDERS OUTSIDE THE EUROPEAN UNION
Shipping to non-EU countries is possible, but due to complex bureaucratic procedures (ministry authorizations, customs paperwork, etc.), additional costs are involved, already included in the indicated shipping costs 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 prestigious public and private collections in Italy, Europe, America and Asia. He has exhibited beside 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 critiques by well-known sector experts:

Gianfranco Zenerato belongs to that current of artists of the seventies, stern messengers to Western society. While the Milanese Antonio Recalcati and the Roman Franco Mulas expressed social anger, Zenerato is a bearer of a poignant warning, where human defeat can also represent the threshold of secular redemption. It is a vision dense with symbolic meanings, of a painter of a modern school, who with talent can reconcile research with experimentation. (Paolo Levi)

One notices from this emblematic image a kind of invitation to meditate on the beauty of a still life, of a flower and of a young woman. The classicism of these silent images interrupts the suspended atmosphere of a grey world, the contemporary one, which distracts us from the dream. (Paolo Levi)

In this disturbing yet explicit visual message, the dialogue between chromatic essentiality and harmony of shapes testifies to the expressive tension and the mastery of a skilled artist. Interesting and new 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 own mental elaborations. His fanciful constructions could therefore confuse the critical judgment in defining him as a surrealist. This is not correct, as he does not offer an imagined absurd and unreal world, but on the contrary, paints a reality familiar to us, with a communicative and highly symbolic purpose. (Sandro Serradifalco)

This painting by Gianfranco Zenerato 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 scrutinize these messages are left to decipher what meaning the author attributed to them. He indeed plays with symbols and cues and enjoys confusing the interpretative coordinates of what could be the web of a story camouflaged with unreality. (S. Russo)

With Gianfranco Zenerato we have an excellent idea, transformed with great capacity into what is a figuration of anticipation, where modernity meets a time that is no longer there to make us reconnect with feelings... (Giammarco Puntelli)

The author focuses on the overlay and intersection of genres, on an allusive and metaphorical search that is incisive in subjects and colors. With brilliant intuition he unifies past (still life), present (the female image) and future (symbolism, cryptic writing...) so that the work becomes an artistic yet literary and metanarrative paradigm. He pushes the painter to identify a new visual universe, to explore the limits of traditional iconography to demonstrate how painting today — amid so much noise — is still an original discipline. The artist's creativity then reaffirms — also thanks to the dazzling chromatics — how the approach tied to the genre still has citizenship in 21st-century painting.

Gianfranco Zenerato's painting leads us to a vision of reality operated on three levels. It is a time-travel the artist invites us to undertake, which through various experiments has led him to place his vision in a present that looks to the past as an ideal, but now lost, and to a future full of artificial and artistic contaminations.
It is a warning and a notice the message that emerges from the elements placed on the canvas surrounding his overall vision. The “drum” that we find as a fixed element tells us “attention,” time is about to expire, 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 dominant.
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, in search of the forces that sustain and shape us, alter or govern our fate. Pushed toward the future, the man-artist embarks on 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, therefore, the need to return to where he started. Thus the cyclicity returns in which 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 becomes a symbol of she 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, all that remains is to turn our gaze to the past to not lose our roots, not to let ourselves be dehumanized by the technological and post-technological world.
Each journey puts rationality and emotions on the same level, raises doubts and fears, everyday times 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. When starting, one must face separation from the “old self,” made of habits, roles and certainties. Departing is still freedom, and even if this is limited because one goes toward the unknown, it manages to bring order to the past. The moving perspective becomes centrifugal and centripetal; the flow of expansion is the direction in which 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 moving toward another. In 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 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 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 technological ones.
It then becomes essential to protect oneself from this future, which advances dangerous and almost uncontrollable, and to seek refuge 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 our reflection in a mirror. Departing with him will mean momentarily darkening those mirrors while awaiting a different image of ourselves. We might find our essence, realize the relativity of values and of our own and others’ points of view. We may get lost and then find ourselves, realizing a common nature, a common fate, a common identity. (Gaetana Foletto)

The artist, starting from classical pastism with a language of pre-abstract figurative, on the backdrop of his interior historicizing 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 dreams, signs, symbols and especially the color, rich in clarity, and timbral purity, to interact with the present even technological. His modernity is genuinely psychological and expressive of his expressive charge of variables of the transavant-garde citationalism of the late twentieth century onward... with Caravaggesque overlapping perspectives ... and modern psychology of post-Renaissance extraction (Rembrandt...). Zenerato has creative potentials of wide historical reach, knowing how to poetically combine them, assembling, making the lyre of the soul 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 added to reason. dialoguing with the present. (Prof. Alfredo Pasolino)

Very interesting is his research: figurative reaches scenic effects in a space where a symbolic frequency vibrates, entrusted from time to time to dream, 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 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 phrase to talk about the rich and innovative painting of Gianfranco Zenerato, and this because through that simple sentence a great truth is told, that in painting everything has been done already and today the artist who seeks to conquer his own individuality, without allowing himself to be influenced by currents and masters of the past, must overcome enormous obstacles because, as Giorgio Morandi also argued, “There is nothing or almost nothing new in the world,” and therefore to be original one should paint bearing in mind 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 by a masterpiece, but to paint and create is a gift that God has granted only to a few elect who, capable of seeing what others often do not even perceive, manage to transform the emotions that arise from small things, from a gesture, from a caress, from a look, into tones that vibrate and color the grey of the world around us.
Among these lucky ones one must certainly include Master Zenerato, a talented artist like few others, who makes minutiae, rigor and fantasy a painting style that, although it recalls past Masters, demonstrates that the artist has learned from their lessons and borrows from the greats an impeccable technique, presents a unique and visible individuality in that touch of elegant modernity present in every single creation, which makes him a rare bird in the national artistic panorama.
Bunches of flowers and ripe and lush fruit, laid on tall marble walls worn by the years and often stained 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 a bridge between past, present and future; the surrounding landscape, almost always captured at sunset when the green ray greets the sun and welcomes the moon, emerges with even greater vigor what Zenerato bans on the marble tablets in the foreground, where a color becomes ever more vivid ranging 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 proser of art because he creates a style that is initially poetic and then painterly, with which he manages to represent what he feels by filtering ugliness and the negativities that our world carries within 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...

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