"on consistent terms which le brun has made uniquely his own, he has created a considerable body of work in large or quite small paintings, with drawings and many engravings of inventive refinement which, put all together, makes a visible and credible world of its own. an intensity of visual concept in its broad sense sustains an oddly relaxed, divergent and exploratory tension derived from the calculated and extremely variable deployment of each brushmark in its placement on the canvas. he offers us a feast for the eye demanded by delacroix as the first requisite of any painting before it has meaning. some of the ways in which le brun deploys pigment appear to stem from early guston and, before that, from the late monet that we encounter in the musee marmotton – but the world celebrated by le brun in this use of paint stems in essence from the romantic past of poetry, myth and legend."