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

Eileen Myles.

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

Christopher Le Brun's Tree Paintings are a departure from the romantic, half-figurative, half expressionist work for which the English artist is best known- and also a deepening of that same impulse. Approaching a canvas, Le Brun's manner, as in a recent interview, is "to start with anything, often just big patches of colour, working with the different colours", eventually letting an image , say a horse, emerge, then "over-painting" the image, allowing the horse to come up elsewhere. Nothing is predetermined: the images in his canvases virtually erupt from his unconscious as he works. And now he's turned to trees.
These are fashionable looking paintings, intensely neutral like a roomful of people in black clothes. The trees are surrounded by a dense, teeming gray. In one untitled piece, a tree stands italianate by some thickly painted, red-black land. here a mute, featureless separation is evoked, the tree a quiet marker alongside what appears to be a dulled, multi-coloured road. In another untitled work, the frenetic painterly surface nearly masks the tree - everything is blurred by a surge of blue-gray strokes building and destroying the tree so that its relationship to its environment is frantically symbiotic.
Tree with Red and Blue harks back to Le Brun's earlier work, with emblematic red blandishments on the tree and a few heroic drapes of teal blue passing through the ethereal background. This is an honorary tree, one with a flair for service. By contrast, Tree with Hill is less compositionally predictable: black tree, gray slope and earthen ware crossroads are disrupted by a small spectacle of branches rising from the bottom of the canvas.
In Wing, the one treeless painting in the show yet the one which somehow sums it up, a white wing emerges. Because of its peculiar vertical position, it appears fantastic, no part of a bird. maybe it belongs to Pegasus, a subject of Le Brun's earlier work. Without the tree here to reduce and control the painter's project, Le Brun's expressive strokes complement the tenderness of the subject, a mythic wing, a kind of tree.