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Warp and weft of canvases in The economist
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bigwhitesofadog
Looking at an oil painting done in the 1950s, I see no sign of the weave of the underlying canvas. I don't think this is unusual; I think many techniques obliterate the canvas. The painting I am looking at does not have a very heavy application of paint. This is why a figured twill could be used for something as detailed as a portrait. Sandra |
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Why?
As Doreen McLaughlin noted, it's sometimes difficult to find "unplowed ground" in which to conduct historical research, and the type(s) of textile(s) used in the move from panel to stretched cloth is a topic that hasn't yet been explored and discussed to death. It's also a topic that has been, until very recently, impossible to research because of the fondness for lining/relining paintings in the 19th and 20th centuries. Also, sometimes a topic simply catches one's attention and cries out for further research (a rabbit hole). A more intriguing question is "Why did the 'Old Masters' use fabrics such as flax gebrochenes as the substrates for their works?" Were these fabrics simply "more available" from their local linen draper? Or is there something inherent in the weave structure that makes it a better substrate for the gesso under the painting? What Ms. Loermans's research is revealing is that these complex twills have a history much earlier than the late 17th century--Titian's painting of Isabella d'Este is dated to 1536, so we now know that gebrochenes were being woven about 140 years earlier than the earliest published drafts (Ziegler, 1677). Or are there other, earlier drawdowns "hiding in plain sight" that haven't been recognized as weaving because the author/publishers simply lumped them in with other woodcuts of embroidery and lace designs? Questions like these are catnip to textile and weaving historians. Dawn |
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I would think because the warp and weft provide the texture upon which the painting is built. Janene On Thu, Jul 14, 2022 at 12:25 PM Anne Oglevie <anneroglevie@...> wrote: Why study the warp and weft of canvases? |
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bigwhitesofadog
Twill Thrills (editor van DER Hoogt) has an article and drafts for M&W twill used as canvas for a portrait that had once been a tablecloth. So it would seem that a study of "canvas" would be a study of textiles of the period that could be used as painter's canvas. Sandra |
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Doreen McLaughlin
Why? Because original dissertation topics for a MFA are getting harder and harder to come by. Doreen |
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Because you can. Like climbing a mountain. On Thu, Jul 14, 2022 at 1:25 PM Anne Oglevie <anneroglevie@...> wrote: Why study the warp and weft of canvases? |
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Anne Oglevie
Why study the warp and weft of canvases?
https://www.economist.com/culture/2022/07/13/why-study-the-warp-and-weft-of-canvases |
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