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Gianfranco Zenerato - Opera 030 - Tribute to Edward Weston

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Artist: Gianfranco Zenerato
Technique: Oil on canvas
Signature: Hand signed
IDEAL FOR INVESTMENT
Over 130 collectors have purchased works by Gianfranco Zenerato on Catawiki.

THIS PAINTING HAS BEEN PART OF THE ARTIST'S COLLECTION SINCE 1997.

Unique hand-painted work - International archival certificate - total dimensions including frame 60x70. 5x2cm - Oil on canvas/panel 40x50 - 1997
Wooden frame prepared and painted by hand

GIANFRANCO ZENERATO
He began his career in 1990, embarking on a long journey that will see him present with his works at more than 600 art events.
Award-winning artist at national and international level.
Over 500 awards won.
His works are part of important private and public collections in Italy, Europe, America and Asia.
He has exhibited alongside artists of the caliber of Antonio Nunziante, Athos Faccincani, Alfonso Borghi, Giuseppe Menozzi, Giampaolo Talani, Saturno Buttò etc.
He currently collaborates with the well-known art critic Prof. Giammarco Puntelli.

The work will be accompanied by:
Certificate of authenticity signed by the author
International Archival Certificate of Contemporary Arts
File containing the artist's professional career

Customs charges to be paid by the buyer.

Some criticisms from well-known experts in the sector:

Gianfranco Zenerato is part of that current of artists of the seventies, severe messengers towards Western society. While the Milanese Antonio Recalcati and the Roman Franco Mulas expressed social anger, on the contrary Zenerato is the bearer of a poignant warning, where the defeat of man can also represent the antechamber of a secular redemption. It is a vision full of symbolic meanings, of a painter of the modern school, who with talent knows how to reconcile research with experimentation. (Paolo Levi)

We realize that from this emblematic image we receive a sort 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 gray 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 the harmony of shapes testifies to the expressive tension and mastery of a skilled artist. The mix of flowers, fruits and contemporary technological objects is interesting and unprecedented. (Stefania Bison)

Gianfranco Zenerato elaborates narratives of signs that reveal, stage after stage, the infinite possibilities of a fertile imagination, organized according to ordered sequences of one's own mental elaborations. His imaginative constructions could, therefore, confuse critical judgment in defining him as a surrealist. This is not accurate, since he does not offer us an absurd and unreal imaginary, but on the contrary, he paints a reality familiar to us, but 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 constructed by the mind of a visionary. His works have a strong scenographic component and those who explore these messages remain to decipher what meaning their author attributed to them. In fact, he plays with symbols and references and enjoys confusing the 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 skill into what is a figuration of waiting, where modernity meets a time that no longer exists to make us meet feelings again. . . (Giammarco Puntelli)

The author focuses on the overlap and intersection of genres, on an incisive allusive and metaphorical research in subjects and colors. With lightning intuition he unifies the 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. It is important for the painter to identify a new visual universe, to explore the limits of traditional iconography to demonstrate how painting today - amidst so much noise - is still an original discipline. The artist's creativity then reiterates - thanks also to the bright colors - how the approach linked to genre still has the right to citizenship 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 are going to face with the artist, who through various experiments over the years has managed to place his vision in a present that "looks" at the past as an ideal, but now lost, world and at a future full of artificial and artificial contamination.
The message that emerges from the elements placed on the canvas to surround his overall vision is a warning and a warning. The "battery" which 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) underline how important it is not to sever the link with the past, with a world in which nature was predominant.
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 Odysseus, travels in this temporal dimension, in search of the forces that support us and shape us, alter or govern our fate. Pushed towards the future, the man-artist faces the journey with strength and determination, but then realizes his own fragility in the face of the complexity of a world he created, the technological one, which is slipping out of his hands and he therefore feels the need to return to where he started from. Thus the cyclical nature returns in which the journey is this eternal reminder of life and death. We will have to return to the starting point to find ourselves and the female figure therefore becomes a symbol of the one who allows us to be reborn.
The words "depart" and "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 leaving and then returning. When we look to the future, all we can do is look to the past so as not to lose our roots, so as not to allow ourselves to be dehumanized by the technological and post-technological world.
Every journey puts rationality and emotions on the same level, gives rise to doubts and fears, everyday times are distorted and take on different meanings.
Moving towards the future becomes a challenge, captured in the female gaze, but also danger because it is almost a loss of identity. By leaving you have to face the separation from your "old self", made up of habits, roles and certainties. Leaving is still freedom and even if this is limited because you go towards the unknown, it manages to put order in the past. The moving perspective becomes centrifugal and centripetal, the flow of expansion is the direction in which one is going, while the fulcrum of contraction is the direction from which one comes and in Zenerato's works one has this sensation of coming from a place and of direction towards another. At the center is the female figure as a point of reference: it is the artist's conscience, the heart of moving, with its rhythms, noises, times, difficulties, discoveries and emotions.
The temporal plane of the future that represents the arrival is, in some works, dehumanized, and the female figure is almost crumbled because the artist himself does not recognize himself in this position: 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 overshadowed by 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 opportunity to travel through dreams, signs and symbols, where each of us will see ourselves reflected in a mirror. Leaving with him will mean temporarily darkening those mirrors while waiting to discover a different image of ourselves. Perhaps we will find our essence, we will realize the relativity of our own and others' values and points of view. We will be able to lose ourselves and then find ourselves, realizing a common nature, destiny, identity. (Gaetana Foletto)

The artist, starting from classical pastism with a language of figural pre-abstraction, against the background of his interior historicizing cosmos, sweeps the mobile cursor of his consciousness of emerging development, up to the extreme emergencies of the present, submitting his learned technique to the energy of dream, of the sign, of the symbol and above all that of the colour, rich in clarity and timbric purity, to interact with the technological present. Its modernity is genuinely psychological and an intensive expression of its expressive charge of variables of the citationist trans-avant-garde of the late twentieth century onwards. . . with Caravaggio-esque perspective superimpositions. . . and modern psychology of post-Renaissance extraction (Rembrandt. . .) . Zenerato has creative potential of vast historical scope, knowing how to combine them poetically, assembling, making the zither of the poetry of the soul vibrate on the coordinates of the history of art in universal values, and scanning on the cursor of its infinite imaginative evolution, through the hyperrealism of his visionary dream, an open window added to reason. communicating with the present. (Prof. Alfredo Pasolino)

His research is very interesting: the figuration achieves scenographic effects in a space in which a...

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Time, Location
22 Apr 2024
Italy
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[ translate ]

Artist: Gianfranco Zenerato
Technique: Oil on canvas
Signature: Hand signed
IDEAL FOR INVESTMENT
Over 130 collectors have purchased works by Gianfranco Zenerato on Catawiki.

THIS PAINTING HAS BEEN PART OF THE ARTIST'S COLLECTION SINCE 1997.

Unique hand-painted work - International archival certificate - total dimensions including frame 60x70. 5x2cm - Oil on canvas/panel 40x50 - 1997
Wooden frame prepared and painted by hand

GIANFRANCO ZENERATO
He began his career in 1990, embarking on a long journey that will see him present with his works at more than 600 art events.
Award-winning artist at national and international level.
Over 500 awards won.
His works are part of important private and public collections in Italy, Europe, America and Asia.
He has exhibited alongside artists of the caliber of Antonio Nunziante, Athos Faccincani, Alfonso Borghi, Giuseppe Menozzi, Giampaolo Talani, Saturno Buttò etc.
He currently collaborates with the well-known art critic Prof. Giammarco Puntelli.

The work will be accompanied by:
Certificate of authenticity signed by the author
International Archival Certificate of Contemporary Arts
File containing the artist's professional career

Customs charges to be paid by the buyer.

Some criticisms from well-known experts in the sector:

Gianfranco Zenerato is part of that current of artists of the seventies, severe messengers towards Western society. While the Milanese Antonio Recalcati and the Roman Franco Mulas expressed social anger, on the contrary Zenerato is the bearer of a poignant warning, where the defeat of man can also represent the antechamber of a secular redemption. It is a vision full of symbolic meanings, of a painter of the modern school, who with talent knows how to reconcile research with experimentation. (Paolo Levi)

We realize that from this emblematic image we receive a sort 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 gray 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 the harmony of shapes testifies to the expressive tension and mastery of a skilled artist. The mix of flowers, fruits and contemporary technological objects is interesting and unprecedented. (Stefania Bison)

Gianfranco Zenerato elaborates narratives of signs that reveal, stage after stage, the infinite possibilities of a fertile imagination, organized according to ordered sequences of one's own mental elaborations. His imaginative constructions could, therefore, confuse critical judgment in defining him as a surrealist. This is not accurate, since he does not offer us an absurd and unreal imaginary, but on the contrary, he paints a reality familiar to us, but 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 constructed by the mind of a visionary. His works have a strong scenographic component and those who explore these messages remain to decipher what meaning their author attributed to them. In fact, he plays with symbols and references and enjoys confusing the 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 skill into what is a figuration of waiting, where modernity meets a time that no longer exists to make us meet feelings again. . . (Giammarco Puntelli)

The author focuses on the overlap and intersection of genres, on an incisive allusive and metaphorical research in subjects and colors. With lightning intuition he unifies the 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. It is important for the painter to identify a new visual universe, to explore the limits of traditional iconography to demonstrate how painting today - amidst so much noise - is still an original discipline. The artist's creativity then reiterates - thanks also to the bright colors - how the approach linked to genre still has the right to citizenship 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 are going to face with the artist, who through various experiments over the years has managed to place his vision in a present that "looks" at the past as an ideal, but now lost, world and at a future full of artificial and artificial contamination.
The message that emerges from the elements placed on the canvas to surround his overall vision is a warning and a warning. The "battery" which 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) underline how important it is not to sever the link with the past, with a world in which nature was predominant.
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 Odysseus, travels in this temporal dimension, in search of the forces that support us and shape us, alter or govern our fate. Pushed towards the future, the man-artist faces the journey with strength and determination, but then realizes his own fragility in the face of the complexity of a world he created, the technological one, which is slipping out of his hands and he therefore feels the need to return to where he started from. Thus the cyclical nature returns in which the journey is this eternal reminder of life and death. We will have to return to the starting point to find ourselves and the female figure therefore becomes a symbol of the one who allows us to be reborn.
The words "depart" and "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 leaving and then returning. When we look to the future, all we can do is look to the past so as not to lose our roots, so as not to allow ourselves to be dehumanized by the technological and post-technological world.
Every journey puts rationality and emotions on the same level, gives rise to doubts and fears, everyday times are distorted and take on different meanings.
Moving towards the future becomes a challenge, captured in the female gaze, but also danger because it is almost a loss of identity. By leaving you have to face the separation from your "old self", made up of habits, roles and certainties. Leaving is still freedom and even if this is limited because you go towards the unknown, it manages to put order in the past. The moving perspective becomes centrifugal and centripetal, the flow of expansion is the direction in which one is going, while the fulcrum of contraction is the direction from which one comes and in Zenerato's works one has this sensation of coming from a place and of direction towards another. At the center is the female figure as a point of reference: it is the artist's conscience, the heart of moving, with its rhythms, noises, times, difficulties, discoveries and emotions.
The temporal plane of the future that represents the arrival is, in some works, dehumanized, and the female figure is almost crumbled because the artist himself does not recognize himself in this position: 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 overshadowed by 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 opportunity to travel through dreams, signs and symbols, where each of us will see ourselves reflected in a mirror. Leaving with him will mean temporarily darkening those mirrors while waiting to discover a different image of ourselves. Perhaps we will find our essence, we will realize the relativity of our own and others' values and points of view. We will be able to lose ourselves and then find ourselves, realizing a common nature, destiny, identity. (Gaetana Foletto)

The artist, starting from classical pastism with a language of figural pre-abstraction, against the background of his interior historicizing cosmos, sweeps the mobile cursor of his consciousness of emerging development, up to the extreme emergencies of the present, submitting his learned technique to the energy of dream, of the sign, of the symbol and above all that of the colour, rich in clarity and timbric purity, to interact with the technological present. Its modernity is genuinely psychological and an intensive expression of its expressive charge of variables of the citationist trans-avant-garde of the late twentieth century onwards. . . with Caravaggio-esque perspective superimpositions. . . and modern psychology of post-Renaissance extraction (Rembrandt. . .) . Zenerato has creative potential of vast historical scope, knowing how to combine them poetically, assembling, making the zither of the poetry of the soul vibrate on the coordinates of the history of art in universal values, and scanning on the cursor of its infinite imaginative evolution, through the hyperrealism of his visionary dream, an open window added to reason. communicating with the present. (Prof. Alfredo Pasolino)

His research is very interesting: the figuration achieves scenographic effects in a space in which a...

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Time, Location
22 Apr 2024
Italy
Auction House
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