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

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

Christopher Le Brun continues his pursuit of the elusive, almost as an end in itself. The sense of mystery that pervades his work is the residue of - and perhaps an attempt to revive - that sense of "tragic insight" which Friedrich Nietzsche regarded as "the most beautiful luxury of culture." In his paintings, Le Brun combines an iconography of isolation with a muted sensual surface, less important for its assertive painterly quality than for its seductive atmospheric one; it bears some resemblance to Monet's elusive continuum of surface. There is a sense of restrained fullness in this surface, which makes the object embedded in it - yet also thrust onto it, as if the crust of some barely contained passion - seem all the more haunting. I used to think that the specificity of the object was important for Le Brun - that it mattered whether it was a horse or wreath, each imbued with its particular mythopoetic associations - but now I think it is an excuse for isolation. In the works here, a tree predominates, as in Tree with Hill, 1986, and Tree with Blue and Red, 1987-88, but what counts is its removal, which is sometimes suggested by abstract markings. These markings claim the image for the realm of art - as pure shaped colour - but also highlight it as an emblem of loneliness. The isolated tree also provides an imagistic pause in the music of atmospheric flux. For all the singularity of the object, its rendering is more about the silence within the musical surface, and the sense of isolation that silence articulates, than about bespeaking a material reality, in however elusive a manner. The fact of the object matters less than the feeling of nothingness its isolation arouses: it exists to bring out the nothingness in which it exists.

Le Brun's work recalls the indeterminacy of Symbolism: one might almost say that indeterminacy has become a fetish for the artist. Enigma, as I have elsewhere suggested, is the last frontier of art. Perhaps art's only remaining task will be to preserve a margin of incommunicability in a world saturated with messages. In the crossfire of communications art offers a sense of enigma - the last sanctuary of interiority - for it represents the immeasurable, the inner infinite. Le Brun's revival of the sense of the hidden, in a world that wants to expose everything, goes against the social grain. Le Brun manages to mystify and interiorize despite the demand for things to be demystified, debunked, and turned inside out. These works have the soft light of inner sensuality, the oddly quiet clarity of a self-assured je ne sais quoi. Le Brun is the Watteau of the new expressionism, or shall we call it the New Lyricism, that aims in Nietzsche's words, to make "iron, leaden life...lose its gravity through golden, tender, oil-smooth melodies." Le Brun's gesture liberates his objects from their melancholy heaviness, making them the perfect hiding place for our own gravity and melancholy.