Karina Gentinetta

Karina Gentinetta 1stdibs Dealer Artist, antique and vintage furniture dealer

“Grand Overture in Green” 2026, 108” x 72”An overture is the opening movement of something larger—a gathering of themes ...
06/13/2026

“Grand Overture in Green” 2026, 108” x 72”

An overture is the opening movement of something larger—a gathering of themes before they fully reveal themselves. In this work, forms emerge and dissolve through layers of moss green, pale celadon, burnt umber, and soft whites. Marks accumulate like fragments of a forgotten language, creating a composition that feels both ancient and immediate.

I wanted the painting to possess a sense of quiet monumentality: expansive yet intimate, restrained yet deeply expressive. The pencil work remains visible throughout, preserving the history of its making and allowing each gesture to become part of the final composition.

A painting is finished when nothing more needs to be said. This one feels complete.

Grand Overture in Green, 2026
108 x 72 in.
Available

Final Image shown in a conceptual interior setting.

Several years ago, I had the privilege of being commissioned by designer Mary McDonald to create Divine Innocence III fo...
06/05/2026

Several years ago, I had the privilege of being commissioned by designer Mary McDonald to create Divine Innocence III for an estate in Corona del Mar, California.

The home, owned by Too Faced Cosmetics founder Jerrod Blandino, was later featured in Elle Decor and remains one of the most memorable projects in which my work has been included.

What I love most when looking back at these photographs is seeing how a painting finds its place within a larger creative vision. Mary has an extraordinary ability to create interiors that are bold, layered, and deeply personal, and I was honored that this work became part of her vision for this beautifully realized home.

One of the great pleasures of being an artist is seeing a work leave the studio and become part of a story larger than itself.

Divine Innocence III, 2023
84” x 72”

With gratitude to Mary McDonald for including my work in this extraordinary project.

Several years ago, I had the privilege of being commissioned by designer Mary McDonald to create Divine Innocence III, 8...
06/05/2026

Several years ago, I had the privilege of being commissioned by designer Mary McDonald to create Divine Innocence III, 84” x 72”, for an estate in Corona del Mar, California.

The home, owned by Too Faced Cosmetics founder Jerrod Blandino, was later featured in Elle Decor and remains one of the most memorable projects in which my work has been included.

What I love most when looking back at these photographs is seeing how a painting finds its place within a larger creative vision. Mary has an extraordinary ability to create interiors that are bold, layered, and deeply personal, and I was honored that this work became part of her vision for this beautifully realized home.

One of the great pleasures of being an artist is seeing a work leave the studio and become part of a story larger than itself.

Divine Innocence III, 2023
84” x 72”

With gratitude to Mary McDonald for including my work in this extraordinary project.

Being an artist is, in many ways, a solitary existence.Most days, it is just me, the canvas, the paint, the silence, and...
05/27/2026

Being an artist is, in many ways, a solitary existence.

Most days, it is just me, the canvas, the paint, the silence, and the quiet responsibility of trying to create something that carries feeling. I spend countless hours reaching inward — into memory, experiences, beauty, loss, hope — searching for something that feels true enough to translate into paint.

To me, painting has never simply been about decoration. It is my way of communicating without words. A way of expressing in an abstract way the complexity and beauty of human emotion in the hope that someone else might recognize a part of themselves within it.

And yet, for as fulfilling as creating can be, it also requires a certain comfort with solitude and vulnerability. Every time I share a new work, I feel exposed in a way that is difficult to explain. So when someone connects with a painting — when they write to me, respond to the work, or tell me it moved them in some way — it means more than you probably realize.

Those moments remind me that art creates connection. That somewhere beyond the studio walls, someone understood what I was trying to say.

And through all the long hours in the studio, Lucca is almost always nearby.

Some paintings whisper. These command a room.‘Overture in Green I & II’ was created as a study in movement, depth, and r...
05/16/2026

Some paintings whisper. These command a room.

‘Overture in Green I & II’ was created as a study in movement, depth, and restrained drama — layers of olive, moss, white, and earthen tones unfolding almost like music across the canvas.

There is something both grounded and untamed within them, reminiscent of old European interiors, overgrown gardens, and spaces collected slowly over time rather than decorated all at once.

Commissioned works like these are always bittersweet to release.

“Overture in Green I & II”
2026
55” H x 39” W each
Private Commission

Earth Tone I & II, 2026, 42” × 28” eachThese two works were created as a conversation with one another — layered blacks,...
05/14/2026

Earth Tone I & II, 2026, 42” × 28” each

These two works were created as a conversation with one another — layered blacks, warm earth pigments, texture, movement, and light.

Part of my Earthen series originally unveiled in Paris this past summer, these works were created with a desire to feel timeless, sophisticated, and quietly powerful — paintings that could hold their own within interiors defined by elegance, permanence, and restraint.

I wanted them to feel grounding yet atmospheric at the same time — works that slowly reveal themselves as the light changes across their surfaces throughout the day.

There is something deeply satisfying to me about seeing a pair of paintings live together within a space. They begin to create not just a focal point, but an atmosphere.

Shown together as a pair. Each work available individually.

Inside the beautifully layered, hotel-inspired home of global event producer Michelle Rago (), designed in collaboration...
05/13/2026

Inside the beautifully layered, hotel-inspired home of global event producer Michelle Rago (), designed in collaboration with Bryan O’Sullivan ().

“Roman Holiday” 2023, 72” x 72” lives in Michelle’s bedroom — a painting she describes as bringing her joy each morning when she wakes. It is always meaningful to see my work become part of someone’s inner sanctum and daily life, and even more so to know that it continues to bring joy long after it leaves my studio.

Photography by .jess.laird for

“Ranunculus II,” 2024, 84” x 60”. This painting came out of my love for ranunculus—how they open slowly, petal by petal,...
04/21/2026

“Ranunculus II,” 2024, 84” x 60”. This painting came out of my love for ranunculus—how they open slowly, petal by petal, each layer revealing another, softer one beneath. There’s a fullness to them, but also a fragility, as if they could collapse under their own weight.

I wanted that same tension here—areas that feel lush and unfolding, held against moments that dissolve, drip, or barely remain. Color building, then slipping away. Like something still in the process of opening.

I painted this as part of a diptych. The first found its home. This one remains.

Roma came home to New Orleans for her 21st birthday, and for a few days everything felt full again. We celebrated at Lil...
04/20/2026

Roma came home to New Orleans for her 21st birthday, and for a few days everything felt full again. We celebrated at Lilette—a place that holds years of memories for me. Sitting there with her now, at this point in her life, felt quietly significant.

I think a lot about what stays and what shifts—how memory accumulates, how certain places seem to hold time. That rhythm finds its way into my work, whether I mean it to or not.

And yes, I still slip away to thank the chef. Some things stay constant.

A decade of collaboration with interior designer Megan Winters. These works move in a quieter language—pared back, restr...
04/14/2026

A decade of collaboration with interior designer Megan Winters. These works move in a quieter language—pared back, restrained, often monochromatic—yet built with the same intention as my more expressive pieces. Each painting is developed in direct response to its interior—its scale, its architecture, its rhythm.

No two are the same. None are repeatable.

This is the balance I value most: adapting without losing authorship. For designers and collectors who understand that art does not decorate a space—it defines it.

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