Forthcoming and recent publications
- Painting, Science, and the Perception of Coloured Shadows: 'The Most Beautiful Blue'. Routledge. March 2021.
- 'Vermilion, or why Cézanne took the shine off things', Word & Image, vol. 26, no. 1 (April 2020), 64-79.
- 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).
Journal Special Issue
- 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.
- The Most Beautiful Blue": Painting, Science, and the Perception of Coloured Shadows', The British Journal of Aesthetics,vol. 54, no. 4 (October 2018), 401-21.
- '"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.
Chapters in Books
- 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.