A Quote by John Piper

Intensity is all that matters in painting. — © John Piper
Intensity is all that matters in painting.
Is there in painting an effect which arises from the being together of repose and energy in the artist's mind? - can both repose and energy be seen in a painting's line and color, plane and volume, surface and depth, detail and composition? - and is the true effect of a good painting on the spectator one that makes at once for repose and energy, calmness and intensity, serenity and stir?
There was a point after the whole intensity of the Clash finally subsided when I just found that painting grounded me in a way that music didn't.
I feel the need of attaining the maximum of intensity with the minimum of means. It is this which has led me to give my painting a character of even greater bareness.
The older painting - well, it does have an effect all at once, I suppose, but it's of a lesser intensity than a lot of the American work in the last ten or fifteen years.
I love painting so much that nothing else matters.
All that stuff about flatness - it's this idea that painting is a specialized discipline and that modernist painting increasingly refers to painting and is refining the laws of painting. But who cares about painting? What we care about is that the planet is heating up, species are disappearing, there's war, and there are beautiful girls here in Brooklyn on the avenue and there's food and flowers.
I am an intense person on the field. I always want to win, as it matters to me a lot. That's why I never like to lose the focus or intensity.
The latest fashion… is absolutely necessary for a painting. It’s what matters most.
You have bits of canvas that are unpainted and you have these thick stretcher bars. So you see that a painting is an object; that it's not a window into something - you're not looking at a landscape, you're not looking at a portrait, but you're looking at a painting. It's basically: A painting is a painting is a painting. And it's what Frank Stella said famously: What you see is what you see.
The painting is always done very much with [the model's] co-operation. The problem with painting a nude, of course, is that it deepens the transaction. You can scrap a painting of someone's face and it imperils the sitter's self-esteem less than scrapping a painting of the whole naked body.
Whereas certain people start with a recollection or an experience and paint that experience, to some of us the act of doing is the experience; so that we are not quite clear why we are engaged on a particular work. And because we are more interested in plastic matters than we are in matters of words, once can begin a painting and carry it through and stop it and do nothing about the title at all. All pictures are full of association.
I think every painting should be the same size and the same color so they're all interchangeable and nobody thinks they have a better painting or a worse painting.... Besides even when the subject is different, people want the same painting.
I think it matters almost infinitely that we practice one of the authentic religions. But if you mean does it make any difference which. The answer is no, as long as each is followed with equal intensity, sincerity, dedication.
Life matters more than any painting, novel, film, or great big diamond.
Making a movie is, for me, like painting. I just enjoy the care that goes into every brushstroke and the choice of every color. I enjoy the intensity of it.
Poetry is the language of intensity. Because we are going to die, an expression of intensity is justified.
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