More Studio Work: a stretched painting

To continue the saga of trying to catch up with the back-log of studio chores: I finally got a stretcher made and the big Golden Canyon Revisited (a version of a plein air work I did in Death Valley)  stretched and wired. Here’s the stretcher, drying with its coat of acrylic sealer:


I started to put the canvas on this honking big stretcher without sealing it. I only had to remove two staples from the almost fixed canvas and then paint the frame, twice. The sealing dried, I stretched the beast, and Jer and I installed it in my favorite auditioning space over the dining room table.

GoldenCanyonInstalled2wThe painting wraps around the edges of the wide stretcher bars, so it doesn’t need framed:


Golden Canyon Revisited. about 52 x 56, Oil on canvas, 2009

When Jef Gunn, whose plein air group I have joined this summer, came by, he was impressed by the size and the painting itself, but noted that the stretching wasn’t tight enough to bounce that quarter. In fact, the painting balloons a bit off the boards, a look I rather like.  When I asked Jef why you had to pull the canvas so taut (I never have been able to do so, even with the tool that supposed to make it possible), he said it was because that’s what “they” always said to do. And then he accused me of being a contrarian.

Me? Me??? Nope. Just a wimp. –June

This entry was posted in Art, Beatty Nevada, Death Valley, landscape, non-representative, painting and tagged , . Bookmark the permalink.

6 Responses to More Studio Work: a stretched painting

  1. June says:

    Thanks, guys, for all the good vibes. Sheila, this is indeed the one that was tacked up in the studio. Something about isolating it on its bespoke stretcher gives it extra oomph. As well as weight!

    Margaret, there’s no make or break until you throw out your medium. And even then, you can change your mind. Of course, after every plein air session, I wonder why I ever thought to take up a brush. But 3 weeks???? Give me a break!!!

    And to all — the “looseness” with which I stretched the canvas is something kind to the “looseness” with which I make up my beds. Ah, those “hospital corners” — aka present wrapping challenges….


  2. Jay Hoffman says:


    Wonderful painting!

    Overstretching not only can bow things in, but it generally leads to an accelerated failure of the canvas at the edges.


  3. terry grant says:

    I think the painting looks splendid stretched on the stretchers. And once it is painted, why worry about how tight? I always assumed the tight stretch assured a smooth painting surface mainly. I have one painting stretched so tight that the side bars of the stretcher bow inward. This is not a good look!


  4. margaret says:

    Fabulous – awesome, even! I’ve been trying to paint, and not getting on very well – the next three weeks will be make-or-break time for me and this medium. So, it’s really good to see your evolution and approach, and how obviously satisfying (despite the less satisfying moments) it is for you.


  5. Sheila says:

    This is the one hanging in your studio when I was there, right? I was very excited to see it, although I remained mute in your presence. I’m realizing that is what I do when confronted with something awe-inspiring – I clam up! I did the same with several of my Hood River friend’s pieces. After the fact, I realized she might interpret my silence as a negative reaction to her work. Quite the contrary. Simply taking it all in and lost for words til much later.

    This really is a great piece, and the larger size definitely adds to its impact. It is perfect without frame. And who in their right mind would want to bounce a quarter off it? LOL


  6. Del Thomas says:

    Ballooning or not, I like the painting. It is evocative of the canyon walls in the great desert of the West. And I also like the blue chair shadow! So happy you and Jer are both back with your fans. Love…


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