Gianfranco Zenerato - ICON

IDEAL FOR INVESTMENT - AMONG THE FIRST 5 RAPIDLY RRISE ARTISTS ON CATAWIKI
Over 180 collectors have purchased Gianfranco Zenerato’s works on Catawiki.

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210 WORKS SOLD - 100% Positive - 80 Reviews

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One of a kind 100% HAND-PAINTED - glows in the dark

Gianfranco Zenerato (Professional Artist - Italy)

• Active since 1990, with over 600 participation in national and international art events.
• Recognized for the high quality of works, with over 500 awards received.
• Present in public and private collections in Italy, Europe, America and Asia.
• Exhibited alongside masters such as Antonio Nunziante, Athos Faccincani, Alfonso Borghi, Giuseppe Menozzi, Giampaolo Talani, Saturno Buttò, etc.
• Reviewed by leading Italian critics.

"ICON" is a visual reflection on the sacredness of technology. The everyday object, a mouse, is sublimated into a relic of digital thought, the center of a chromatic energy that buzzes like an aura. The painting material becomes the language of the information flow, translating mechanical gesture into inner perception. The artist transforms functionality into a symbol, returning to the present an image of reverence: the icon of our connected era.
Owning ICON means guarding a fragment of the most authentic contemporaneity: a work that unites aesthetics, reflection and technological memory. A painting destined to become a testament to our shift from the analog man to the digital man.

International Archival Certificate - Authenticity certificate signed by the author - Folder containing the artist’s professional trajectory
Unique work 100% HAND-PAINTED - total dimensions including frame 38x38x4 cm - acrylic, metallic colors, luminescent pigments on gallery canvas - GLOWS IN THE DARK - 2026
Ready to hang - Frame included in the lot

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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 prizes 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.

Some critiques from noted industry experts:

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

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

In this unsettling yet explicit visual message, the dialogue between chromatic essentialism and formal harmony testifies to expressive tension and the mastery of a sagacious artist. Interesting and novel is the mixture 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 imagination, organized according to the ordered sequences of his own mental elaborations. His fantastical constructions could confuse critics into calling him a surrealist. This is not accurate, as he does not present an absurd or unreal imaginary world, but rather a familiar reality with a highly symbolic and communicative purpose. (Sandro Serradifalco)

This painting by Gianfranco Zenerato is technically well-structured, finely and richly articulated, proposing a reality built by the mind of a visionary. His works have a strong scenographic component, and deciphering what meaning the artist attributed to these messages remains.
He plays with symbols and allusions and enjoys confusing interpretative 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 waiting, where modernity meets a time that no longer exists to make us rediscover feelings... (Giammarco Puntelli)

The author focuses on overlapping and intersecting genres, on a deliberately incitive and metaphorical search in subjects and colors. With blazing insight, he unifies past (still life), present (the female image) and future (symbolism, cryptic writing...) so that the work becomes both an artistic and literary and meta-narrative paradigm. He presses the painter to identify a new visual universe, to explore the limits of traditional iconography to demonstrate how painting today — amidst much noise — remains an original discipline. The artist’s creativity, then, reinforced by flamboyant chromatics, asserts that the genre’s relevance in 21st-century painting remains.
Gianfranco Zenerato’s painting leads us to a three-tier view of reality. It is a journey through time, where he, through various experiments, has placed his vision in a present that looks to the past as an ideal but now lost world, and a future full of artificial and pretentious contaminations. It is a warning that emerges from the elements on the canvas surrounding his overall vision. The fixed “battery” element says “attention”; time is about to run out, and the prominent natural elements, contaminated by technological objects (mouse, CD, alarm clock) emphasize the importance of not severing ties with the past, a world where nature was dominant. The female element, positioned in the present temporal plane, represents the mother-Earth archetype placed in the middle ground between past and future. Gianfranco, like Odysseus, travels in this temporal dimension, seeking the forces that sustain and shape us, alter or govern our fate. Pushed toward the future, the artist confronts the journey with strength and determination, but then realizes his own fragility before the complexity of a world he created, the technological one, which slips from his grasp and makes him feel the need to return to where he started. Thus comes back the cyclicity in which the journey is this eternal call to life and death. We will have to 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 “depart” and “to give birth” both contain the concept of separation and detachment, and in every journey Gianfranco Zenerato undertakes there is this circular temporal reference, this departure and return. When looking to the future, we can only turn our gaze to the past to not lose our roots, not to be dehumanized by the technological and post-technological world. Every journey places rationality and emotion on the same plane, raises doubts and fears, and 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 goes into the unknown, it still manages to bring order to the past. The moving perspective becomes centrifugal and centripetal; the expansion flow is the direction one is heading, while the contraction center is the direction from which one comes, and in Zenerato’s works one has this sense of coming from a place and heading toward another. In the center the female figure as a reference point: 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 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 sorrowful resignation to the loss of connection with the past, and even the elements in still lifes become, in some cases, almost absent and overshadowed by technological elements.
It becomes essential, then, to protect oneself from this future, which advances dangerously and almost uncontrollably, and to retreat into 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 own reflection in a mirror. Departing with him will mean temporarily dimming those mirrors in anticipation of discovering a different image of ourselves. We may find our essence, realizing the relativity of our own values and perspectives and those of others. We may lose ourselves and then find ourselves again, realizing a common nature, destiny, and identity. (Gaetana Foletto)

The artist, starting from classic pastism with a language of pre-abstract figurative, within the inner historicalcosmic setting expands the moving cursor of his developing consciousness, up to the extreme emergencies of the present, subjecting his learned technique to the energy of dream, sign, symbol and especially 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 late 20th-century transavant-garde citational, with Caravaggesque overlays... and modern psychology of post-Renaissance extraction (Rembrandt...). Zenerato has vast creative potential, poetically combining them, assembling, making the lyre of the soul sing 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 opened added to reason, dialoguing with the present. (Prof. Alfredo Pasolino)

Very interesting is his research: the figurative reaches scenographic effects in a space where a symbolic frequency vibrates, entrusted to dream, myth, or 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 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 Gianfranco Zenerato, and this because through that simple sentence a great truth is told: in painting almost everything has 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, as Giorgio Morandi also said, “There is almost nothing new in the world,” and thus to be original one should paint considering social, technological and scientific evolutions.
It is said that art is for everyone but not for everyone; everyone has the right to emotion in front of a masterpiece, but painting and creating is a gift God granted only to a few elect who, able to see what others often do not perceive, manage to transform emotions that arise from small things, from a gesture, from a caress, from a look, into vibrant tones that color the greyness of the world around us.
Among these lucky ones we must surely count Master Zenerato, a talented artist like few others, who makes meticulousness, rigor and fantasy a painting style that, though recalling past masters, proves that the artist has learned from their lessons and has an impeccable technique, presenting a uniqueness and an identifiable individuality in the touch of elegant modernity that pervades every single creation, making him a rare species in the national artistic landscape.
Bunches of flowers and ripe, lush fruit, laid on high marble walls worn by years and often smeared with the amorous drawings of two young lovers, intertwine with objects of modern everyday life, such as a CD-ROM, a mouse, a spatula, which become the 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 tablets in the foreground, where an ever more vibrant color range, from red to yellow to green and all warm hues of the rainbow, stands out.
And the rainbow seems to dominate the career of this young and promising artist, a prose-writer of art who created a style that began poetic and then painterly, through which he can represent what he feels by filtering the ugliness and negativities that our world carries with it.

Endorsements of him or assessments of 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