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The Canadian Conservation Institute lists ten agents of deterioration that play a role in damaging an object or work of art. [4] While all of these agents play a role in damaging a painting over its lifetime, five primary agents are involved in the degradation of an artwork's canvas and its pigment layers.
Sebastiano del Piombo's The Raising of Lazarus was transferred from panel to canvas in 1771. [1]The practice of conserving an unstable painting on panel by transferring it from its original decayed, worm-eaten, cracked, or distorted wood support to canvas or a new panel has been practised since the 18th century.
Splined canvas can be restretched by adjusting the spline. Stapled canvases stay stretched tighter over a longer period of time, but are more difficult to re-stretch when the need arises. Canvas boards are made of canvas stretched over and glued to a cardboard backing, and sealed on the backside. The canvas is typically linen primed for a ...
Gallery wrap is a method of displaying art wrapped over thick wooden bars so that there are no visible fasteners (such as staples or tacks). This method of stretching and preparing a canvas allows for a frame-less presentation of the finished painting. In contrast, a non-gallery wrap canvas is usually intended to be framed before presentation.
The oldest known use of fabrics as a painting support dates back to the Dynasty XII in Egypt (2000 BC).The continuous use can be traced in both Europe and Asia. In Medieval Europe fabrics was overtaken by the wood panels for church use; Renaissance, with its wider spread of paintings, saw wide use of canvas, occasionally glued to the wood, a practice that originated in the Ancient Egypt, but ...
Judith Murray (born 1941) is an American abstract painter based in New York City. [1] [2] [3] Active since the 1970s, she has produced a wide-ranging, independent body of work while strictly adhering to idiosyncratic, self-imposed constants within her practice.