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In the case of the French stretcher, a mitre joint is used to adhere the corners. "Keys" or small triangle wedges are inserted in the joint after stretching the canvas to give the canvas its final tension. When fastening the canvas, pressure should be distributed evenly around the stretcher to minimize warping due to unequal distribution of pull.
The back of a stretched canvas, with keys inserted at the corner, and additional keys off to the side. A tightening key is a small wedge or shim used in the construction of a canvas stretcher frame with expandable joints. The key is inserted into the slotted inside the stretcher bars at the mitered corners of the frame to prevent or adjust sagging.
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.
Backside view of a strainer frame displaying corner construction. A strainer bar is used to construct a wooden stretcher frame used by artists to mount their canvases.They are traditionally a wooden framework support on which an artist fastens a piece of canvas.
Canvas on stretcher bar. Canvas has become the most common support medium for oil painting, replacing wooden panels. It was used from the 14th century in Italy, but only rarely. One of the earliest surviving oils on canvas is a French Madonna with angels from around 1410 in the Gemäldegalerie, Berlin.
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 ...
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