Arta Textilă

The painters' workshop from Oltenia · 1947

This page documents a specific intervention on a linen support panel used in the folk theater of the village of Strehaia. Unlike neighboring articles, which deal with the general technique or the geography of the sets, here we focus on a single object: a panel damaged by moisture, restored in the workshop of master craftsman Marian Dumitrescu. The natural pigments – yellow ochre, red earth, and charcoal – were reapplied in successive layers, and the textile support was reinforced with hide glue. The result is not a new work, but a revival of a rural landscape that would otherwise have been lost. This text explains the concrete steps of the restoration, without repeating the promises of other pages.

The Craft of Painted Canvas

From the selection of flax to the final brushstroke – how the backdrops of folk theaters came to life.

Selecting and Preparing the Canvas

Craftsmen chose heavy linen canvas, hand-woven in village workshops. It was stretched over solid oak frames to prevent warping during the application of primer layers.

Priming with Chalk and Glue

Two to three layers of primer made from crushed chalk and rabbit skin glue were applied. Each layer was left to dry for 24–48 hours, then sanded with pumice stone for a smooth, even surface.

Preparing Natural Pigments

Pigments were extracted from yellow ochre, red earth, beech charcoal, and indigo. They were ground in a stone mortar and mixed with linseed oil or bone glue to obtain stable, vibrant colors.

Sketching the Rural Landscape

Using fine charcoal, the painter traced the outlines of hills, forests, and settlements. The composition was designed to give depth to the scene, guiding the viewer's eye toward the center of the theatrical action.

Applying Layers of Color

Colors were applied in successive layers, starting with the sky background and ending with fine details – leaves, rooftops, country roads. Each tone was left to dry completely before the next step.

Fixing and Mounting on Stage

After final drying (5–7 days), the canvas was treated with a thin layer of beeswax for protection. It was then mounted on the stage structure, ready to bring the magic of the rural landscape before the audience.

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