Sounds like you will be rolling coatings on your canvas, rather than applying with an HVLP system. Whatever canvas you decide to look at, be sure to test a sample for it's rolling characteristics.
With the Canon inks, for certain media there is a tendency for the ink layer to smear during rolling. Sorry, I rarely use canvas these days so I can't make specific recommendations, but for sure I know that Hahnemuehle Photo Canvas 320 GSM has excellent rolling characteristics.
For a while I used textured fine art paper as canvas substitute to get around the all too common QC issues one sees with canvases. Epson Cold Press Natural and also Hot Press Bright roll very well if you don't mind dealing with very curly prints after rolling. BC Pura Velvet also rolls very well, with minimal curling, and produces great prints both coated and uncoated. Of course you can't stretch fine art paper, but you can mount it and even gallery-wrap it around the edges of a Gatorfoam panel if you are patient, long suffering, and technically adept.
Don't know what to recommend for OBA free canvas, as most canvases have considerable OBA content. There's BC Lyve of course, which in spite of a very repetitive surface texture makes really solid looking prints. Simply Elegant Matte Canvas has a more randomized texture, that unfortunately kills detail pretty badly, so you wouldn't want to use that if sharpness is important to your images. For relatively fine detail Fredrix 777 and Hahnemuehle Photo Canvas 320 are very satisfactory because of their fine weaves. But both score high on the OBA thing, and Fredrix 777 has the smallest gamut and worst QC issues of any canvas I have ever used, although it can produce very nice looking landscape prints for most subjects.
By far the easiest coating to apply is Glamour II, and it is also the cheapest because it ships in concentrated form. Super good leveling characteristics, it's just very well behaved compared to anything else out there. It has no UV protection, which is good for OBA canvases because it lets them fluoresce from UV in the ambient light, but it offers less long term fade protection. I'll let others comment on Timeless and Clearshield, both of which have UV protection but are harder to apply well. Bottom line...if you are using OBA media, don't use a UV protective coating, and vice versa.
Be aware that most coatings including Glamour II have a smell that can chase you out of any room where they are drying. You don't notice it too much at first, but having more than 2 or 3 square feet of wet surface exposed in a typical room sort of wears you down. Be sure you coat in a well ventilated room, or in winter a room that is isolated from the rest of the house with a window that can be briefly opened once in a while. And speaking of winter, GII will apply well down to at least 48F, provided the humidity is no more than about 35%. On sunny days I have more than once sprayed GII while standing on snow, which is another story.
As for making your photos look like paintings, I'm not sure that using canvas is a needful thing. The "painting look" has more to do with tonality and the way painters distribute their density "values" in a way that usually emphasizes medium to light tones, whereas photographers usually emphasizes a wider range of tones. Many photographers are still hung up on the "old masters" look of centuries past where much detail wallows around in murky dark tones. For a quite a while modern painting has tended to emphasized much brighter values. OK, to keep it short, print open, de-emphasize fine detail, and don't let your highlights get too bright. There, I said it. It's also interesting that a lot of painters completely obliterate any hint of canvas texture with both gesso primer and heavy paint application. Go look at some paintings and note how many actually reveal canvas texture. And the texture of the canvases painters use is much more organic looking than the soul-of-a-machine, stretch-friendly texture we see on most inkjet canvases.
