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

Patrick Elliott. Four Riders

From Contemporary British Art in Print. Booth-Clibborn Editions 1995

These four prints grew out of Le Brun’s work on Fifty Etchings and continue the same numbering sequence in roman numerals (LI to LIV). They are variants of etching XX from Fifty Etchings, which shows four riders in front of a castle. Although the image of the medieval rider occurs throughout Le Brun’s work from the 1980’s (for example, a painting of Sir Tristram in Southampton Art Gallery features a rider with a plumed helmet), the group of riders was a new image in his oeuvre. Etching XX was developed into a large painting, Riders before a Castle (1990-1992), which is now in a private collection in the USA.

In contrast to the previous project with its developing cycle of interconnected imagery, the Four Riders was a deliberate attempt to construct a monumental single work in etching. The image of the armoured figure occurred increasingly in Le Brun’s work of the early 1990’s. In general terms the artist likens his use of an image ‘out of time’ to the device employed by Baselitz of turning the image upside down. Both strategies dramatise the autonomy of a work of art. But whereas in Baselitz’s case the painting can be readily assimilated in to the formal development of modern art, Le Brun also attempts to engage directly with the subject of Time and art’s relationship to it.

Concurrent with his work on these prints Le Brun was reading Tennyson’s The Idylls of the King, the long narrative poem based on Mallory’s Morte d’Arthur. He points out that it is a mark of the difficulties inherent in the use of allegorical form in modern times that there has been prolonged controversy over the relative success or failure of Tennyson’s book ever since it was written.

Etching LII, which is a hardground etching, closely follows the composition of the Riders Before a Castle painting. Although its numbering sequence puts it after etching LI, LII was begun first but was proofed slightly later. Number LI was made with two etching plates: the plates used for making LII (with a fourth rider added), and a second plate which gave extra tone and depth. Etching LIII is a reworking of both plates, with the castle and three of the riders burnished out (though their ghostly presence is still discernible); LIV uses these same two plates (one inverted) and incorporates a third.