Bryan Robertson
Catalogue Introduction to the exhibition Christopher Le Brun Paintings 1991-1994 at Marlborough Fine Art London 1994.

Bryan Robertson and Christopher Le Brun
Interview. Lindos, Rhodes. April 1997 and January 1998.

Caroline Collier
Exhibition review. Christopher Le Brun at Nigel Greenwood, London. Flash Art no.124 October/November 1985

Charles Saumarez Smith. Christopher Le Brun
Introduction to the monograph Christopher Le Brun Booth-Clibborn Editions 2001

Christopher Le Brun and Cecilia Powell
Constructive, Investigative and Truthful. Christopher Le Brun interviewed by Cecilia Powell on J.M.W. Turner and Watercolour. Published in the Turner Society News August 2006.

Christopher Le Brun. Giorgio Morandi
This essay was published in the catalogue for the exhibition 'Giorgio Morandi Etchings' at the Tate Gallery in 1992.

Christopher Le Brun. Representation
Paper delivered to the Royal Academy Forum. Published by Architectural Review November 2004

Donald Kuspit
Exhibition review. Christopher Le Brun at Sperone Westwater, New York. " ..the Watteau of the new expressionism..." Art Forum vol.XXVII, no.1, September 1988, p.136

Ebbsfleet Landmark
Artist statement and description of the proposal for a 50 metre high sculpture.

Eileen Myles.
Exhibition review. Christopher Le Brun at Sperone Westwater. Art in America, December 1988, p.154

John Aiken. Paradox and Modernity
Written for issue no.4 of the Slade Magazine c.1999. John Aiken is the Slade Professor.

Jonathan Glancey. A Chip off the Old Block
Jonathan Glancey on how a sculpture by Christopher Le Brun became the template for the office of the future. Published in The Guardian, 8th March 2004

Mario Cutajar. Fade into Darkness
Christopher Le Brun at the Art Center College of Design and L.A. Louver Gallery. Review. Artsweek March 1993.

Mark Francis. Interview with Christopher Le Brun
Fig-1, 50 projects in 50 weeks. 2000

Norbert Messler
Review of the exhibition at Rudolf Zwirner, Cologne. Artscribe International 1988.

Patrick Elliott. Four Riders
From Contemporary British Art in Print. Booth-Clibborn Editions 1995

Patrick Elliott. Seven Lithographs
From Contemporary British Art in Print Booth-Clibborn Editions 1995

Patrick Elliott. The Wagner Prints
From Contemporary British Art in Print. Booth-Clibborn Editions 1995

Stuart Morgan
Exhibition review. Christopher Le Brun at the Nigel Greenwood Gallery. Art Forum November 1985.

Tony Godfrey. Finding the Figure in the Landscape
Christopher Le Brun and his recent work. Catalogue essay . Arnolfini Gallery 1984

Caroline Collier

Exhibition review. Christopher Le Brun at Nigel Greenwood, London. Flash Art no.124 October/November 1985

Christopher Le Brun has succeeded in making for fragments a fresh context: his works are full of echoes, but they hold the attention and, themselves echo in the memory as images, not just as tokens. This is a rare achievement in art, which tends to be weighed down frequently by symbol, by what is alluded to rather than what is. Although he has used myth and quotation from art, unlike other "cultured" painters he does not absent himself from his paintings, leaving an emotional vacuum that is hardly filled by irony. Of course, like most contemporaries who have adapted myth, he has been aware of the implicit contrast between the world outside and in the paintings. He uses the means of artifice and art, which belie mood, feeling, and vision. yet the postmodern battle between abstraction and figuration, and between meaning and lack of it, narrative and vision, may cause dilemmas that can only be worked out indirectly, finding their voice in the rearrangement and transformation of quotation. Le Brun's neosymbolism only half conceals the visionary impulse, by adopting poses - imitation, theatricality, and splendid passages of paint. He has been criticised for what is perhaps his greatest strength, his skill at using his medium.
The horse (loaded with associations, and convincing as an animal) has become his hall-mark in large-scale paintings that contain semi-recognisable features, borrowed from classicism, symbolism, romanticism, and absract-expressionism, among other sources. Set in this dark or silvery art-historical landscape, the horse, nervous and volatile, nostrils flared, ears pricked, is a potent image for that struggle between the absract and figurative which Le Brun has seen as the "almost pathological " post-modernist condition. Has the horse image created for itself a context, do we fill out an illusory space for it to move in? All paintings depend on duality, the horse no less than its setting , is a fiction.
Some of the newer paintings are more evidently abstract. The horse (an image that recalls the classical and romantic impulse in art) is perhaps becoming less important. Victory (1985), which can be compared with an earlier painting, the more fluid Wreath, (1983), has a horse static in a trotting movement, solid as the mount of a general in a civic statue. The canvas is divided into triangles, with a central vanishing point right behind the horse's head: the horse may be fading but it remains in the star position. Union (1984) is a difficult painting, where the horse's head is squeezed between a black and a white disc, a chestnut X-shape and a streak of red. Wake (1984) and Thorn (1984-85) are closer to the earlier semi-figurative paintings. Light and dark areas have not solidified into uncompromising discs, like great eggs or shells; but remain a suggested landscape. Rider with Shadow (1984) touches on Le Brun's favourite theme, the warrior. The white horse in the middle of the canvas is set against a freely painted but unrecessive ground. The rider, echoing a figure from a Greek frieze, or a decoration from a vase, carries a shield, the form of the disc in Union , and an immense black shadow appears as a combatant.
The more surprising of the recent canvases are horseless. The Portrait of L. as a Young Man (1984-85) is a fictional or projected portrait. a Goya-like drummer boy in a red uniform, materializing from a grey ground, into which his legs disappear, as the hind quarters of the horses tend to disappear. Passage (1984-85), although it is without the focus of an obviously figurative image, suggests the movement of the moon, a disc, across acloudy sky. This painting does in factappear more directly linked to an experience in nature than any of the others. In the new paintings we are reminded that the horse, which grew out of a chance paintmark, has always been used as a touchstone. These works, some of which may be transitional, confirm that for Le Brun it is the painting as a whole, as an imagined world, and as an object, which has mattered.