Eight years ago we worked with a fine Italian company in creating a linen canvas that would make oil painting a real pleasure, creating results that were far more brilliant then ever before possible with commercial products. This linen canvas has a fine weave and texture and is created with one coat of natural glue sealer and 4 coats of priming. Of course that is only one of the stories behind the canvas as the process of creating the priming is one used for over 5 centuries in Italy. The difference is the reliability of the material and the consistency of the finished product. Although processed entirely by hand the modern assembly line and super clean work place allows the finished product to be amazing consistent and most beautiful. Holding the finished canvas in your hand the primed surface feels almost buttery and the linen on the bottom is smooth and incredibly uniform hence providing the underlying cause for such a wonderful master quality product. It’s robust 535 gram weight allows for super strong support on virtually any size canvas.

As with all oil primed linen the surface is non absorbent allowing the color to sit up on the surface. This is particularly important as professional oil paints are milled to surround pigments with the oil vehicle. This creates the depth and beauty that only oil colors can achieve. The depth is created by the refractive qualities of the oil which enhances the natural tendencies of the pigment. Raphael has just enough tooth to keep the surface receptive to hold initial layers of paint while they dry and bond with the oil surface.

Unlike universal primed canvas the oil primed experience is one of pure luxury. The lush feel of the oil caressing the canvas is an intensely enjoyable one. It allows for uninterrupted and super smooth transitions with each stroke. The foundation allows for virtually any technique from abstract to the most intricate portrait and super realistic technique.

On this new project we had some decisions to make. The first was the type of stretching and the second was the weight of the stretcher bar. This collaboration took into account the vast knowledge of the factory and both artists and conservators. In the end it was agreed that the canvas should be stretched onto the back in such a fashion as to leave a nice edge but also to leave plenty of canvas to allow for canvases to be stretched again if need be now and hundreds of years later. The second consideration was the weight and make up of the stretcher bar. Pine is a very nice wood for most stretched canvas but in the end it is not as strong and tight as a slow growing fir. Therefore the use of only the finest slower growing fir woods would be used. Taken from forests where proper conservation precautions are taken for planting where the harvested trees had been taken. Due to the strength of the wood the final size of the bar was settled at 1.1" x 1.3". With a bar brace on sizes over 18x24" and a cross bar on sizes over 24x24" these canvases should not need be stretched again as long as they are kept in a reasonable humidity. A uniform and pronounced bead along the top of the stretcher allows each canvas to have a firm yet reliable "give" for a wonderful feel, especially with large sweeping strokes.