Publications

Seurat Re-Viewed: an anthology of recent and new texts on Seurat (Penn State, 2010). Includes an Introduction, and an essay: '"Souls of Glass": Seurat and the Ethics of Timeless Experience'. Uncorrected proof. Review in THES.
The Substance and the Shadow: an annotated edition in translation of a novel published in 1878 by Zola's friend, Marius Roux, whose central character is modelled on Cézanne (Penn State, 2007). Includes an Introduction and extensive notes. Review. Review in TLS.
A Companion to Art Theory (Blackwell, 2002) edited jointly with Carolyn Wilde. Includes an essay: 'Wittgenstein, Description, and Adrian Stokes (on Cézanne)'.
Seurat and the Avant-Garde (Yale University Press, 1997). Reviews. Review.
Interpreting Cézanne (Tate Publishing, 1996). Review.
Impressionism: Beneath the Surface (Orion/Abrams, 1995).

Guest Editor, Special Issue of French Studies, vol. 61, no. 1, January 2007, The Nineteenth-Century Art Novel. Contains an introductory essay: ‘Literature and Art’, 1-13.

'"Between a Thing and a Thought": Syntax, Twofoldness, and the Wisdom of the Ancients', Word & Image, vol. 29, no. 3 (July–September 2013), 304-33.
'Cézanne's "Primitive" Perspective, or the "View from Everywhere"', The Art Bulletin, 95/1 (March 2013), 102-19.
'Pictorial Grammar: Chomsky, John Willats, and the rules of representation', Art History, 342 (June 2011), 563-93.
'Joachim Gasquet, Virgil and Cézanne's Landscape: "My Beloved Golden Age"', Apollo, CXLVII/439, October, 1998, 11-23.
'Manet Bits', Art History, XX/3, September 1997, 477-82.
'"Parbleu": Pissarro and the Political Colour of an Original Vision', Art History, XV/2, June, 1992, 223-47.
'Was Seurat's Art Wagnerian? And What if it Was?', Apollo, CXXXII/353, July 1991, 21-8.
‘Pictures and History: One Man's Truth’, Oxford Art Journal, vol. 10, no. 2 (1987), pp. 97-105.

Victorine’s Secret: Baudelaire and the Ambiguity of Commodities’, in André Dombrowski and Hollis Clayson (eds.), Is Paris Still the Capital of the Nineteenth Century? (Oxford: Routledge/Ashgate, 2016), 74-93.

‘Cézanne’s Colour Lab: (not-so-) still life’, in The World is an Apple: The Still Lifes of Paul Cézanne, ed. Benedict Leca (Hamilton, Ontario and Giles, London: Art Gallery of Hamilton, 2014), 92-144.
'"Real Primitives"; Cézanne, Wittgenstein, and the Nature of Aesthetic Quality', in J. Harris (ed.), Value, Art, Politics (Liverpool University Press, 2007). Uncorrected proof.
'Cézanne's Primitive Self and Related Fictions', in C. Salas (ed)., The Life and the Work: Art and Biography (Oxford University Press, 2007).
'Cézanne Late Landscape, or the Prospect of Death'/'Les paysages tardifs de Cézanne ou la perspective de la mort' in P. Conisbee and D. Coutagne (eds.), Cézanne in Provence (National Gallery of Art Washington/Musée Granet, 2006). Uncorrected proof.
‘How a Cubist Painting Holds Together’ in J. Gaiger and P. Wood (eds.), Art of the Twentieth-Century: a Reader (Yale University Press/Open University, 2004).
'Cézanne's Maternal Landscape and its Gender' in S. Adams and A. Gruetzner Robins (eds.), Gendering Landscape Art (Manchester University Press/Rutgers University Press, 2000). Review.
‘Baudelaire's "Le Peintre de la vie moderne" and "La Peinture de la vie ancienne"' in R. Hobbs (ed.), Impressions of French Modernity: Art and Literature in France 1850-1900 (Manchester University Press, 1998). Review.

Delacroix's Colour. Video made in collaboration with the National Gallery for the 2015 Delacroix exhibition.
'The Truth in Painting: "Poldex"'. Paper delivered at 'Pioneering Modern Painting: A Symposium on Cézanne and Pissarro', MoMA, New York, 10 September 2005.