Canvasisanextremelyheavy-dutyfabricusedformakingsails,tents,marquees,andotherfunctionswheresturdinessisrequired.
Artistsusesmall(orsometimesmuchlarger)piecesofcanvasasabasefortheirworksofart.Thiscanvasisstretchedacrossawoodenframecalledastretcher,andiscoatedwithgessobeforeitistobeused(althoughsomemodernartists,suchasFrancisBaconandHelenFrankenthaler,sometimespaintontothebare,unprimedcanvas).Earlycanvaswasmadeoflinen,asturdybrownishfabricofconsiderablestrength.Intheearly20thcentury,cottoncameintouse.Cotton,whichstretchesmoreandhasanevenmechanicalweave,islesspreferredthanlinenbytheprofessionalartist.
Theconsiderablepricedifference,however,promptsmanybeginners,andevenmid-levelartists,tochoosecottonoverlinen.Onecanalsobuysmall,pre-preparedcanvaseswhicharegluedtoacardboardbackinginthefactoryandprecoated.However,theseareonlyavailableincertainsizes,andarenotacid-free,sotheirlifespanisextremelylimited.Theyareusuallyusedforquickstudies.Pre-gessoedcanvasesonstretchersarealsoavailable.Professionalartistswhowishtoworkoncanvasusuallypreparetheirowncanvasinthetraditionalmanner.
OneofthemostoutstandingdifferencesbetweenmodernpaintingtechniquesandthoseoftheFlemishandDutchMastersisinthepreparationofthecanvas."Modern"techniquestakeadvantageofboththecanvastextureaswellasthoseofthepaintitself.
Anoviceartistoftenfindsitnearlyimpossibletoapproachtherealismofsuchclassicart,despiteskillinapplyingthepaint.Infact,Renaissancemasterstookextrememeasurestoensurethatnoneofthetextureofthecanvascamethrough.Thisrequiredapainstaking,months-longprocessoflayeringtherawcanvaswith(usually)lead-whitepaint,thenpolishingthesurface,andthenrepeating.Thefinalproducthadlittleresemblancetofabric,butinsteadhadaglossy,enamel-likefinish.Thoughthismayseemanextrememeasuretothemodernpainter,itiscrucialifphotographicrealismistheendgoal.
Withaproperlypreparedcanvas,thepainterwillfindthateachsubsequentlayerofcolorglidesonina"buttery"manner,andthatwiththeproperconsistencyofapplication(fatoverleantechnique),apaintingentirelydevoidofbrushstrokescanbereadilyachieved.