Artists use small (or sometimes much larger)
pieces of canvas as a base for their works
of art. This canvas is stretched across a
wooden frame called a stretcher, and is
coated with gesso before it is to be used
(although some modern artists, such as
Francis Bacon and Helen Frankenthaler,
sometimes paint onto the bare, unprimed
canvas). Early canvas was made of
linen, a
sturdy brownish fabric of considerable
strength. In the early 20th century,
cotton came
into use. Cotton, which stretches more and
has an even mechanical weave, is less
preferred than linen by the professional
artist.
The considerable price difference,
however, prompts many beginners, and even
mid-level artists, to choose cotton over
linen. One can also buy small, pre-prepared
canvases which are glued to a cardboard
backing in the factory and precoated. However, these are only available in
certain sizes, and are not acid-free, so their
lifespan is extremely limited. They are usually used
for quick
studies. Pre-gessoed
canvases on stretchers are also available.
Professional artists who wish to work on canvas
usually prepare their own canvas in the traditional
manner.
One of the most outstanding differences
between modern painting techniques and those
of the Flemish and Dutch Masters is in the
preparation of the canvas. "Modern"
techniques take advantage of both the canvas
texture as well as those of the paint
itself.
A novice artist often finds it nearly
impossible to approach the realism of such classic
art, despite skill in applying the paint. In fact,
Renaissance masters took extreme measures to ensure
that none of the texture of the canvas came through.
This required a painstaking, months-long process of
layering the raw canvas with (usually) lead-white
paint, then polishing the surface, and then
repeating. The final product had little resemblance
to fabric, but instead had a glossy, enamel-like
finish. Though this may seem an extreme measure to
the modern painter, it is crucial if
photographic
realism is the end goal.
With a properly prepared canvas, the painter will
find that each subsequent layer of color glides on
in a "buttery" manner, and that with the proper
consistency of application (fat over lean
technique), a painting entirely devoid of
brushstrokes can be readily achieved.
Fabric
Definitions
Calico Fabric
Definition
Tartan
Definition
Aida
Cloth
Tweed