Gianfranco Zenerato - ABSTRACT MOUSE

OPPORTUNTIES FOR COLLECTORS AND ART INVESTORS

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

ADD TO YOUR COLLECTION AN EXCLUSIVE AND DISTINCTIVE WORK THAT CAN ENHANCE THE PRESTIGE OF YOUR ART ESTATE!

- 225 works sold
- 100% positive feedback
- 90 certified reviews

www.zenerato.com

Unique piece 100% HAND-PAINTED - FRAME INCLUDED AS A GIFT!
International archival certificate - Certificate of authenticity - File containing the artist’s artistic journey - total dimensions including frame 49x59x4.5 cm - acrylic and quartz sand on panel - Ready to be hung - Stunning handcrafted Baroque wooden frame (as in photo)

WHY COLLECT A GIANFRANCO ZENERATO WORK

✓ Over 35 years of professional career
Active since 1990, Gianfranco Zenerato has gradually developed 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 awarded 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 immediately recognizable style
Zenerato’s works combine figurative tradition, symbolism and contemporaneity. Each painting tells a story and invites the observer to a personal and ever-new reading.

✓ Works executed with high technical quality
Great attention to detail, compositional balance and chromatic intensity make each piece a strong visual and collector’s impact.

✓ 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 obtaining 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.
"Abstract Mouse" is a visual manifesto of our time.
A work that transcends mere representation to become a reflection on the relationship between man and technology, between real and virtual. Its strength lies in the balance between abstraction and evocation, in a pictorial gesture that turns the mouse - symbol of the digital era - into a contemporary icon.
Owning it means possessing a fragment of this dialogue, a work that does not stop questioning and fascinating.

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 expected, 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 recognitions for the quality of his works. With over 500 awards to his name, his creations enrich important 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 line 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 mankind’s defeat may also represent the threshold of secular redemption. It is a vision dense with symbolic meanings, a painter of modern school who talentfully reconciles research with experimentation. (Paolo Levi)

You notice 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 distracts us from the dream. (Paolo Levi)

In this unsettling yet explicit visual message, the dialogue between chromatic essentialism and harmony of forms testifies to expressive tension and the mastery of a skilled artist. Interesting and original the mingling 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 fanciful constructions could confuse critical judgment in labeling him a surrealist. This is not correct, as he does not offer an absurd or unreal imaginary, but rather 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 reality constructed by the mind of a visionary. His works have a strong scenographic component, and those who probe these messages are left to decipher what meaning the author attributed to them. He plays with symbols and allusions and enjoys confusing interpretive coordinates of what could be the plot of a story camouflaged as unreality. (S. Russo)

With Gianfranco Zenerato we have an excellent idea, transformed with great ability into a figurative waiting, where modernity meets a time that no longer exists to reconnect us with feelings... (Giammarco Puntelli)

The author emphasizes overlap and intersection of genres, in a search that is allusive and metaphorical, incisive in subjects and colors. With a brilliant 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 is urged to identify a new visual universe, to probe the limits of traditional iconography to demonstrate how painting today — amid much noise — is still a original discipline. The artist’s creativity thus reinforces — also thanks to the striking chromies — how the genre-specific approach still has a stake in 21st-century painting.

Gianfranco Zenerato’s painting guides 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 over the years placed his vision in a present that looks to the past as an ideal but long-lost world, and a future full of artificial and artificial contaminations.
It is a warning and admonition the message that shines from the elements 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 link with the past, with a world where nature was predominant.
The female element, placed on the temporal plane of the present, represents the archetype of the Mother-Earth set 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 faces the journey with strength and determination, but then realizes his own fragility before the complexity of a world he has created, the technological one, which is slipping from his hands and he therefore feels 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 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 departure and then return. When looking to the future we have no choice but to turn our gaze to the past so as not to lose our roots, not to allow ourselves to be dehumanized by the technological and post-technological world.
Every journey places rationality and emotions on the same plane, raises doubts and fears, the times 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. When departing 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 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 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 moving toward another. At the center the female figure as a point of reference: the artist’s consciousness, the heart of going, with its rhythms, noises, times, difficulties, discoveries and emotions.
The temporal plane of the future 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 position: it is as if the loss of identity were a disheartening resignation to the loss of connection with the past, and even the elements of still lifes sometimes become almost absent and overwhelmed by the technological ones.
Then it becomes essential to protect oneself from this future, advancing perilously and almost uncontrollably, and to take refuge in 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 reflection in a mirror. Departing with him will mean momentarily obscuring those mirrors in anticipation of discovering a different image of ourselves. We may find our essence, realize the relativity of our own and others’ values and viewpoints. We may get lost and then find ourselves again, 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, within the inner historical cosmos expands the movable cursor of his developing consciousness, up to the extreme urgencies of the present, subjugating his learned technique to the energy of dream, sign, symbol and especially color, rich in clarity, and timbral purity, to interact with the technologically present as well. His modernity is genuinely psychological and an intensive expression of his expressive charge of variables of postmodern transavant-garde citationalism from the late twentieth century onward... with Caravaggian overlapping perspectives ... and modern psychology of post-Renaissance extraction (Rembrandt ...). Zenerato has vast creative potential, poetically combining them, assembling, making the string of the soul’s poetry vibrate on the coordinates of art history in universal values, and in scanning on 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 to dream, myth, or everyday reality, all harmonized by a splendid chromatic play.

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 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 is because through that simple phrase a great truth is told: 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 Masters of the past, must overcome enormous obstacles, because as Giorgio Morandi also said, “There is almost nothing 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 has the right to be moved by a masterpiece, but painting and creating is a gift that God has granted only to a few chosen who, able to see what others often do not even perceive, manage to transform the emotions arising 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 fortunate ones we must surely count Master Zenerato, a gifted artist like few, who makes meticulousness, rigor and fantasy one painting style that, although recalling earlier Masters, proves that the artist has learned from them and presents a uniqueness and an individuality visible in that touch of elegant modernity present in every single creation, making him a rare white crow in the national artistic scene.
Vines of flowers and ripe, lush fruit resting on high marble walls worn by time and often smeared with amorous drawings of two young lovers intertwine with objects of modern daily life, such as a CD-ROM, a mouse, a spatula, which become links between past, present and future; the surrounding landscape, almost always captured at dusk when the green ray greets the sun and welcomes the moon, brings out with even greater force what Zenerato brands on the marble boards in the foreground, where a color appears more vivid ranging from red, to yellow, to green, and all the warmest 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 first poetic and then pictorial, through which he can represent what he feels by filtering the ugliness and the negatives that our world carries with it.

There are writings about him or judgments of 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