Gianfranco Zenerato - ABSTRACT MOUSE

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lotto/gianfranco zenerato abstract mouse 6cyaKLF 633296321

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lotto/gianfranco zenerato abstract mouse 6cyaKLF 633296321

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Gianfranco Zenerato - ABSTRACT MOUSE

OPPORTUNITIES FOR ART COLLECTORS AND INVESTORS Among the contemporary artists most appreciated 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, ABLE TO 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! International archival certificate - Certificate of authenticity - Booklet detailing the artist’s artistic journey - total dimensions including frame 49x59x4.5 cm - acrylic and quartz sand on panel - Ready to hang - Stunning handcrafted baroque wooden frame (as in the 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 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 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 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. ✓ Created with high technical quality Great attention to detail, compositional balance and chromatic intensity make each work a piece with strong visual and collecting impact. ✓ Not just a simple decoration Each work originates from a research journey developed over more than three decades of professional activity and represents a synthesis of the artist’s vision. A rare 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 retain 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 painterly gesture that makes the mouse – a symbol of the digital era – a contemporary icon. Owning it means possessing a fragment of this dialogue, a work that never stops questioning and captivating. IMPORTANT NOTE FOR BIDDERS OUTSIDE THE EUROPEAN UNION Shipments to non-EU countries are possible, but due to complex bureaucratic procedures (ministerial authorizations, customs procedures, etc.), additional costs are incurred, already included in the shipping costs listed 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 pursued 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 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 well-known sector experts: Gianfranco Zenerato belongs to that current of 1970s artists, stern messengers to Western society. While the Milanese Antonio Recalcati and the Roman Franco Mulas expressed social anger, Zenerato carries a poignant warning, where mankind’s defeat can also represent the threshold of secular redemption. It is a vision dense with symbolic meanings, of a painter from a modern school who, with talent, reconciles research with experimentation. (Paolo Levi) One realizes with this emblematic image a kind of invitation to meditate on the beauty of a still life, of 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 dreaming. (Paolo Levi) In this unsettling yet explicit visual message, the dialogue between chromatic essentialism and the harmony of forms testifies to expressive tension and the mastery of a skilled artist. Interesting and original is the blend of flowers, fruits and objects of contemporary technology. (Stefania Bison) Gianfranco Zenerato develops sign-like 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 therefore confuse critical judgment in defining him as a surrealist. This is not correct, because he does not propose an absurd or unreal imaginary, 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 scenographic component, and those who scrutinize these messages are left to decipher what meaning the author attributed to them. He plays with symbols and cues and enjoys confusing the interpretative 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 skill into a depiction of anticipation, where modernity meets a time that no longer exists to reconnect us with feelings... (Giammarco Puntelli) The author relies on the overlap and intersection of genres, on a probing, incisive metaphorical exploration of subjects and colors. With a stunning intuition, he unites past (still life), present (the female image) and future (symbolism, cryptic writing...) so that the work becomes not only an artistic paradigm but also literary and metanarrative. The painter is driven to discover a new visual universe, to probe the limits of traditional iconography to demonstrate how painting today — amid so much noise — remains an original discipline. The artist’s creativity thus reaffirms — thanks also to the vibrant chromatics — how the gender-based approach still has a rightful place in 21st-century painting. Zenerato’s painting leads us to a three-tier vision of reality. It is a journey through time that we undertake with the artist, who, through various experiments, over the years has placed his vision in a present that “looks” to the past as an ideal, yet lost world, and to a future full of artificial and pretended contaminations. It is a warning and an alert that emerges from the elements 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 placed in the foreground, contaminated by objects from the technological world (the mouse, the CD or the alarm clock) underscore how important it is not to sever the bond 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 situated in the middle ground between past and future. Gianfranco, like an Odysseus, 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 has created, the technological one, which is slipping from his grasp and therefore feels the need to return to where he started. Thus, 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 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 temporal circular resonance, this departure and return. When looking to the future, all that remains is to turn to the past to not lose our roots, to not let ourselves be dehumanized by the technological and post-technological world. Each journey places rationality and emotions on the same level, raising doubts and fears, the times of everyday life distort and take on different meanings. Going toward the future becomes a challenge, captured in the female gaze, but also a danger because it is almost a loss of identity. When setting out, one must face separation from the “old self,” made of habits, roles and certainties. Departing is nevertheless freedom, and even if this is limited because one ventures into 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 focal point 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: it is the artist’s consciousness, the heart of the 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 identify with such a placement: it is as if the loss of identity were a desolate 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 elements. 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 in anticipation of discovering a different image of ourselves. We may 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 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 backdrop of his inner historizing cosmos, moves the mobile cursor of his developing consciousness, up to the extreme urgencies of the present, submitting 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 expressive of his expressive charge of variables of late-20th-century postmodern quotation, with Caravaggesque perspective overlays... and modern psychology of post-Renaissance extraction (Rembrandt...). Zenerato has vast creative potential, poetically combining it, 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, engaging with the present. (Prof. Alfredo Pasolino) Very interesting his research: figurative achieves scenographic effects in a space where a symbolic frequency vibrates, entrusted alternately to dream, to myth, or to ordinary 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 to have 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 sentence a great truth is told: that in painting anything 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 stated, “There is little or nothing new in the world,” and therefore to be original one should paint taking into account 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 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 glance, into vibrant tones that color the gloom of the world around us. Among these lucky ones we must certainly include Maestro Zenerato, a talented artist who makes minutiae, rigor and fantasy one painting style that, while recalling past Masters, shows that the artist has absorbed the lessons of fine painting, stealing from the greats an impeccable technique, presents a uniqueness and an identifiable individuality visible in that touch of elegant modernity in every single creation, making him a rare bird in the national artistic panorama. Floral and ripened, lush fruit canvases rest on high marble walls worn by years and often speckled with amorous drawings of two young lovers, intertwined 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 dusk when the green ray greets the sun and welcomes the moon, brings out even more strongly what Zenerato banishes on the marble tables in the foreground, where an ever more vivid color ranges 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 prose writer of art because he creates a style that is first poetic and then painterly, with which he can represent what he feels by filtering ugliness and negativity that our world carries. 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

Stima:€3,000

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