Tension and canvas paintings

I am writing a review paper on the role of tension in both the
making and conservation of canvas paintings. I am collecting data on
ancient stretchers and strainers, relating to artistic techniques
and conservation practice.

Elastic stretchers have become relevant, and recently give the
possibility of measuring the exact value of tension when mounting a
painting. Spring-loaded stretchers are relatively common in Italy
and France, even though the first documented example seems to appear
in a 1875 US Patent. They are seldom ill-advised in conservation
literature, but some conservators prefer avoiding them altogether. I
would like to encourage those who prefer not to use them (and those
who do) to share their motivations. Moreover, I am interested in
hearing the thoughts of conservators, restorers and conservation
scientists on "rigidity" vs. "flexibility" as desirable attributes
-or achievements of a treatment- for a canvas painting. I would very
much appreciate any comment or opinion you may have, along with
bibliographical references on the subject.

Antonio Iaccarino Idelson,
Lecturer in Canvas Paintings Conservation
University of Urbino, Italy.
Equilibrarte s.r.l.
15, via F. Amici,
00152 Roma.
+39 3397172063


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                  Conservation DistList Instance 21:46
                  Distributed: Thursday, March 6, 2008
                       Message Id: cdl-21-46-031
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