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. Seven Lithographs

From Contemporary British Art in Print Booth-Clibborn Editions 1995

Seven Lithographs was the first of a series of projects made by Le Brun for the Paragon Press. Prior to embarking upon this project, Le Brun’s experience of printmaking was limited to the etchings he had made at the Slade School of Fine Art under the tutelage of Anthony Gross and Bartholomeu dos Santos, and to a series of coloured monotypes he had made with Garner Tullis in Santa Barbara, California in 1986 and 1988.

The lithographs were made between October 1988 and January 1989 and have a close rapport with the monotypes he had recently completed, particularly the large sixty-part print measuring 16 x 36 ft. made in November 1986 (this has never been exhibited). The rapid improvisation which monotype printing on such a scale required (the whole print was created in just two days) provided the key to the method employed in the Seven Lithographs, where some of the prints were invented directly on the plate. However in Seven Lithographs Le Brun could adopt the more considered approach that lithography offered, and, above all, was able to work on the project in London over a much longer period.

Although the portfolio features only seven lithographs the artist made a larger number of prints which he edited down. This method of working in series, developing ideas in the work itself and responding directly to the nature of the medium is a constant in Le Brun's art.

The imagery in the Lithographs has its origins in the paintings Le Brun made in Berlin in 1987–1988. These were paintings such as Theory of 1987 with its single tree set against light and dark bordered with a curving line; Grove with its line of trees; and Tree between Walls of 1986–87. The image of a recumbent lion, developed in one of the horizontal prints in Seven Lithographs is particularly rich in implication. In this print the figure with his arm raised holding a sword was later developed into the Siegfried figure in the Wagner paintings and prints; and the group of horsemen in the background inspired the prints and paintings of the Four Riders sequence. The lion itself recently reappeared in Le Brun’s etching Atalanta and Hippomenes, made for Ted Hughes’ translation of Ovid’s Metamorphoses.

These lithographs relate quite closely to the paintings Le Brun was making at the time though the same could not be said of his etchings. The reason for this has as much to do with the technique and process particular to each medium. For Le Brun the technique is very much a part of the image making process, and just as he would wield the brush with his arm to make a painting, allowing his physical movement and sense of rhythm to affect the work, so he could do the same in making lithographs on large metal plates. Consequently, these prints have a gestural, painterly resonance.