Gianfranco Zenerato - ABSTRACT MOUSE

OPPORTUNITY 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, CAPABLE OF ENHANCING THE PRESTIGE OF YOUR ART HERITAGE!

- 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 hang - Beautiful hand-made baroque wooden frame (as in photo)

WHY COLLECT A WORK BY GIANFRANCO ZENERATO

✓ Over 35 years of professional career
Active since 1990, Gianfranco Zenerato has developed over time a personal, recognizable artistic language that is 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 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.

✓ Appraised by specialized critics
His artistic research has been analyzed and presented by eminent 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 ever-new reading.

✓ Works made with high technical quality
Great attention to detail, compositional balance and color intensity make each work a piece with strong visual and collectible impact.

✓ Not just a simple decoration
Each work stems from a research journey 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 solid presence in international collections.

A work designed not only to be admired today, but to retain its artistic, cultural and collectible value over time.
"Abstract Mouse" is a visual manifesto of our time.
A work that transcends simple 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 painterly gesture that makes the mouse - symbol of the digital era - a contemporary icon.
Owning it means possessing a fragment of this dialogue, a work that endlessly questions and fascinates.

NOTES FOR NON-EU BIDDERS
Spedizioni verso paesi outside the EU are possible, but due to complex bureaucratic procedures (ministerial authorizations, customs procedures, 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 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 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 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 the defeat of man can also represent the threshold of secular redemption. It is a vision dense with symbolic meanings, a painter of a modern school, who with talent manages to 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, a flower and a young woman. The classical nature of these silent images interrupts the suspended atmosphere of a gray world, the contemporary one, which distracts us from dream. (Paolo Levi)

In this unsettling yet explicit visual message, the dialogue between chromatic essentiality and harmony of forms testifies to expressive tension and the mastery of a skilled artist. Interesting and new is the mixture of flowers, fruits and objects of contemporary technology. (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 fantastic constructions could therefore confuse critical judgment in defining him as a surrealist. This is not correct, as he does not propose an imaginary, absurd and unreal, but on the contrary, paints a reality familiar to us, with a communicative and highly symbolic purpose. (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 scrutinize these messages are left 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 weave of a story camouflaged as unreality. (S. Russo)

With Gianfranco Zenerato we have an excellent idea, transformed with great ability into what is a figure of anticipation, where modernity meets a time that no longer exists to make us re-meet the feelings... (Giammarco Puntelli)

The author focuses on overlapping and intersecting genres, on a suggestive and metaphorical research that is incisive in subjects and colors. With a lightning intuition he unifies past (still life), present (the female image) and future (symbolism, cryptic writing...) so that the work becomes an artistic and literary and meta-narrative paradigm. The painter must seek a new visual universe, probe 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 chromatic tones — how the genre-related approach still has a place in 21st-century painting.

Gianfranco Zenerato’s painting leads us to a vision of reality operated on three levels. 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 world, but now lost, and a future full of artificial and artificial contaminations.
It is a warning and a notice the message that emerges from the elements placed on the canvas surrounding his overall vision. The “battery” that we find as a fixed element is telling us “attention,” time is running out, and the strong call of natural elements in the foreground, contaminated by objects of the technological world (the mouse, the CD or the alarm clock) underscore how important it is not to sever the link with the past, with a world in which nature was dominant.
The feminine 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 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 “leave” and “give birth” both contain the concept of separation and distancing, and in every journey undertaken by Gianfranco Zenerato there is this circular temporal reference, this departure and return. When looking to the future we have no choice but to turn our gaze to the past to not lose our roots, to not let ourselves be dehumanized by the technological and post-technological world.
Each journey puts rationality and emotions on the same plane, it raises doubts and fears, the times of everyday life distort and take on different meanings.
Moving toward the future becomes a challenge, captured in the feminine gaze, but also a danger because it is almost a loss of identity. Starting means facing separation from the “old self,” made of habits, roles and certainties. To depart is, however, freedom, and even if this is limited because we face 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 gets this sense of coming from one place and heading toward another. At the center the feminine 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 temporal plane that represents arrival is, in some works, dehumanized, and the feminine 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 the loss of connection with the past and even the elements of still lifes become, in some cases, almost absent and overwhelmed by the technological ones.
It becomes essential, then, to protect oneself from this future, which advances dangerously 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 ourselves reflected in a mirror. Departing with him will mean momentarily darkening those mirrors while awaiting a different image of ourselves to be discovered. Perhaps we will find our essence, we will realize the relativity of values and of our own and others’ points of view. 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 pasticism with a language of pre-abstract figurative art, on the backdrop of his inner historicizing cosmos, spans the movable cursor of his developing consciousness, 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 interact with the present even technologically. His modernity is genuinely psychological and an intensive expression of his expressive charge of the transavant-garde citational of late twentieth century onward... with Caravaggian perspective overlays... and modern psychology of post-Renaissance extraction (Rembrandt...). Zenerato has broad creative potentials, skillfully combining them poetically, assembling, making the strings 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 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 discipline 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 the artist Gianfranco Zenerato, and this 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 by Masters of the past, must overcome enormous obstacles because as Giorgio Morandi also stated, “There is little or nothing new in the world,” and therefore to be original one should paint keeping in mind 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 creation is a gift that God has granted to only 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 gaze, into vibrant tones that color the grayness of the world around us.
Among these lucky ones one must certainly count Master Zenerato, a talented artist like few, who makes minutiae, rigor and fantasy a painting style that, although it recalls the Masters of the past, proves that the artist has learned from the lessons of beautiful painting by stealing from the greats an impeccable technique, presents a uniqueness and an individuality visible in that touch of elegant modernity present in every single creation, which makes him a white crow in the national artistic panorama.
Vines of flowers and ripe, lush fruit, laid against high marble walls worn by years and often smudged 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 a linking ring 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 banishes on the marble tablets in the foreground, where a color increasingly vivid stands out, ranging 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 proser of art because he creates a style that is first poetic and then pictorial, with which he manages to represent what he feels by filtering the ugliness and the 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, 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 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