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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 ...
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 ...
Generally, the technique uses a natural or synthetic 'mesh' fabric stretched tightly across a rectangular 'frame,' much like a stretched canvas. The fabric can be silk, nylon monofilament, multifilament polyester, or even stainless steel. [9]
Canvas can also come in the form of canvas board. As with all parts of a painting, deterioration is inevitable. Re-lining or lining treatments was used to added support to the original canvas until it was determined that it created more damage. Strip-lining is now used instead. Strip-lining involves reinforcing tacking that has weakened.
A panel painting is a painting made on a flat panel of wood, either a single piece or a number of pieces joined together. Until canvas became the more popular support medium in the 16th century, panel painting was the normal method, when not painting directly onto a wall ( fresco ) or on vellum (used for miniatures in illuminated manuscripts ).
Viallat primarily worked with un-stretched canvas, a central feature of the movement shared by Devade, Valensi, Dolla and Cane. This was meant to emphasize the material thickness of the canvas and to extend the surface outside the parameters of traditional painting. [2] Another method frequently used by these artists was ink dyeing.