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

Christopher Le Brun. Venice Pictures
Catalogue introduction, Marlborough Graphics London 2003

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

Christopher Le Brun. Venice Pictures

Catalogue introduction, Marlborough Graphics London 2003

In 8 working days in Venice between the 2nd and 13th of September 2002 I made 76 prints.

How do I account for this rush of images and ideas? I feel disinclined to cite as inspiration those famous Venetian predecessors, whether painters, writers or composers whose names you can provide as well as I. In any case, these should have been assimilated into my work long ago.

Instead, I prefer to account for the abundance of these prints by claiming they came about from being and working in the city, from pleasure: a surfeit of pleasure.

A pleasure not just visual, since it also arose from the balmy warmth of the air, the fresh smell of the wonderful and indefinably green water, conversations, laughter, and at the end of the day, food, wine and good company.

The Scuola on our first day at work. The studio is a simple white room. A large square window opens inward. A narrow side canal leads as if straight to the window's threshold. Working boats and an occasional gondola come and go under a small high curving footbridge in the middle of the view, and beyond, on the main canal, is a tower, pink and decorated, the green of its garden showing to the left. Rising out of the water before me and framing the view, are subtly coloured walls on which hang dark green shutters like diminishing exclamation marks. The sounds: boatmen talking and the water lapping.

On the table beneath the window are new plates of shining metal ready to be painted. There are oil colours to hand, brushes, a glass palette, jars of turpentine and oil, rollers, spatulas, crayons, charcoal, pastels, pencils, scissors, paper and card: all possibilities. In the printing room next door are two skilled master printers, keen for the success of the project, waiting for me to complete the painting of the first plate.