RESTORATION OF PAINTINGS OF CANAVAS

The origin of the use of canvas as pictorial support is lost in antiquity, while remaining a marginal technique. Traditionally it is made of interlacing of linen fibers, hemp or jute, but with the modern age is also widely firmly established the use of cotton and synthetic fibers. The different material wefts have a significant influence on the painting effect: subtle wefts such as linen allow more detailed finish, hemp or jute are suitable for free painting executions or big works. Originally the canvas was sticked on by glue on wooden boards, only since the Renaissance the canvas had begun to be nailed and stretched over movable looms provided with keys to ensure the tension, creating the kind of support that is still the most widely used among the artists. This system ensures a constant tension of the canvas, allows to replace the loom in the case of deformation over time and facilitates the transport of the works, since the canvas can be easily removed from the loom and rolled considerably reducing its size. Before being painted the canvas needs (with the exceptions related to the experimentalism typical of modern art) two operations: bonding, which stabilizes the weft of the canvas and removes any hairs present on the surface, and fixing which is the first material base adapted to receive the paint.

GUIDONIA RESTAURI