Fiberglass-faced honeycomb panels offer a considerable advantage over aluminum-skinned honeycomb because there is no possibility to develop filiform corrosion on the aluminum and lose adhesion. In addition, the epoxy impregnating the fiberglass is compatible with ground and paint media (oils, acrylics, and alkyds) so that they can be painted directly upon! Order Below.

Savant Canvas Panels - Marouflaged* Honeycomb Panels

For purists, interested in long-term reversibility and modern art conservation principles, we also offer the SAVANT CANVAS PANELS that have pre-primed adhered to the fiberglass faced panels. Order Below.

The entire history of painting and many of the problems encountered in modern art conservation originate in the evolution of painting away from panel and onto canvas in the late 16th and early 17th century. The advantages of painting on large textiles are often negated by the reaction of textiles to stretching and environmental humidity variations. Panels originating from the same studio (Rubens for example) versus canvas paintings fare much better over time. This is virtually a universal truth in art conservation!

So why are most paintings done on stretched or strained1 canvas? … because it’s CHEAPER NOT BETTER!

This is the ultimate “art conservation” oriented solution. Canvas on a stretcher or strainer almost inevitably develops craquelure. Canvas mounted on panel (preferably dimensionally stable and humidity-insensitive honeycomb) will be minimally reactive to humidity changes and thus unlikely to ever develop traditional craquelure. The adhesive used is a conservation accepted standard that is reversible with heat.

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* marouflage (n. / v.) - A technique for or the act of attaching canvas to a solid support – usually this is terminology is restricted to mural-sized paintings on paper or fabric that will be attached to a wall. The traditional adhesive is lead white and linseed oil. The lead white is a very effective drier and the linseed oil becomes very hard and resistant. The name comes from the French maroufle - the bottom of the glue pot. This technique has been used since the 18th century as large building projects became more common and architects were made to adhere to timetables and budgets for finishing a building. For many artists marouflage is also ideal in that it allows them to finish all or part of a work in the studio and to spend minimal time and potential inconvenience on an active work site. Also, there is then no need to have a serial schedule for building and subsequent decoration. NOW MODERN ADHESIVES ARE USED.

1Stretchers have keys in slots in the corners where they can be expanded to tension the canvas. Strainers are any non-adjustable frame to which a painting is attached. In uncontrolled environments stretchers can lead to a number of very nasty damages to paintings that have been “overstretched”.