Stretching or gluing for paintings

[PaulG]

Hi guys,

I've got some artwork that I'm looking to have framed, and am currently in two minds as to whether to have it stretched (expensive option), or glued. They aren't Van Goughs, but I do like them, and would rather they had some longevity. Does anyone know the pitfalls of one option over the other? The only information I can get so far is from the framers themselves, who seem to be rather interested in getting the job, rather than giving accurate information!

Cheers,

Paul

 

[dklaiman]

I don't have the answer for you, but I do have a suggestion. Call a local college (or even one that's far away) and ask for a professor in the studio arts department. You should be able to get an unbiased opinion from the professor.

 

[Confilo]

Hi guys,

I've got some artwork that I'm looking to have framed, and am currently in two minds as to whether to have it stretched (expensive option), or glued. They aren't Van Goughs, but I do like them, and would rather they had some longevity. Does anyone know the pitfalls of one option over the other? The only information I can get so far is from the framers themselves, who seem to be rather interested in getting the job, rather than giving accurate information!

Cheers,

Paul

Are the pieces on canvas or paper? and what size? If canvas you can stretch them both on stretchers or on a wood panel. If the paintings are large the wood panel can be an expensive or heavy option.
If paper, mat them with 100% rag matboard and frame them making sure, the paper does not come in contact with the glass.
I paint and taught life painting for many years.

 

[PaulG]

Thanks for the info, Confilo.

The paintings are on canvas (not top quality canvas, but reasonable canvas). They are oil paintings, one is about 80cm high by 50cm wide, and the other about 50cm high, and 1.2meters wide.

The options are wet-gluing them to a thin wooden board, or stretching them over a wooden frame (proper strainers, so the wood is on a slight angle, only edges touching the canvas).

Apparently with the larger one there would also be a brace in the strainer they build down the centre.

Any thoughts would be appreciated!

 

[Tony Miller]

Many feel that over the long haul that the canvas will weaken where it touches the inside edge of the canvas, ie, where it leaves the rigid support and is left free hanging more or less. It can cause the paint layers to crack or tear over time.

A wooden panel or other archival support keep the canvas supported over 100% of its surface and is thought to be better for it. Many early oils are remounted in museums for just this reason.

For the best advice ask a painter how they would want their work work mounted for the longest life.

Tony (a very beginner oil painter)

 

[furious1]

Many feel that over the long haul that the canvas will weaken where it touches the inside edge of the canvas, ie, where it leaves the rigid support and is left free hanging more or less. It can cause the paint layers to crack or tear over time.

A wooden panel or other archival support keep the canvas supported over 100% of its surface and is thought to be better for it. Many early oils are remounted in museums for just this reason.

For the best advice ask a painter how they would want their work work mounted for the longest life.

Tony (a very beginner oil painter)

Hi Tony and Paul G,

It would be much better to stretch them over the wooden bars than glue them down to a board. The glue itself will seep into the canvas and affect the colors of the painting. While Tony is correct that the canvas would be supported over it's entire surface if mounted, the wooden bars keep the canvas tight with little wooden wedges "keys" that are inserted into slots in the four corners of the stretcher bars. If the canvas begins to sag, one taps on the keys with a small hammer, slightly expanding the stretcher to keep the canvas with an even surface tension. The "cracks" (called craquelure) one sees on some old paintings can be caused by a variety of things, including improper technique on the part of the artist, environment, damage to the surface of the painting, etc... not because it is "free hanging".

You do see paintings in museums that have been mounted on board, or otherwise lined with an additional support. It was common practice among conservators at a certain time, and is now done only as a last resort. To take a painting, and literally press it with a hot iron to another support coated in glue (usually rabbit skin) or wax is never a good idea if you can help it. I shudder when I encounter a "lined" or remounted painting, because I know something of the artist's work is lost to history.

The only issue I could see with stretching the canvases is if they are painted all the way to the edge, you would lose an inch or so of the composition as it is folded and nailed to the bars.

I'm an art historian and curator working at a large museum. My area of specialty is 18th-early 20th century American paintings, so I often have occasion to work with conservators on projects. I always recommend to people that they treat their paintings as if they were Van Goghs, if you like to look at them or they have sentimental value to you, they are worth protecting.

 

[Confilo]

Furious is offering good advice. If properly stretched and braced it should give you long lasting enjoyment of the work. Keep in mind that the life of a painting is also determined by the preparation of the canvas, sizing, primer, application of paint by the artist.
Most conservators today do not like to do anything that can not be easily reversed later.
I also work in a major museum, but in the other coast

 

[Tony Miller]

Great advice and thank you for the clarification. It seems the info I was given is now quite outdated.

Tony

 

[PaulG]

Thank you both for the wonderful advice. We'll get them stretched!

Cheers,

P