ZCZ Films

Art critic Waldemar Januszczak is on the quest to explain exactly what the Sistine Chapel's ceiling is actually trying to tell us.

Manet is one of the main candidates for the title of the most important artist there has been. As the reluctant father of Impressionism, and the painter of Dejeuner sur l'herbe, he can probably be accused of inventing modern art. But his story is fascinating on many other levels. As a piece of compelling biography, Manet's is the unlikely tale of the stubborn son of the most highly placed judge in France who decides to become an artist and embarrass his father. The resulting family tensions are the stuff of legend. Then there was Manet's dramatic private life, including exotic romantic affairs and a particularly horrible death. Always cited as the father of the Impressionists, Manet stubbornly refused to show with them, and was careful to maintain an aesthetic distance from Monet, Renoir and the others. While they worshipped him, he looked down on them.

Acclaimed British art critic, Waldemar Januszczak, investigates the few known facts about William Dobson and seeks out personal stories he left behind as it follows him through his tragically short career. Among the Dobson fans interviewed in the wonderful film is Earl Spencer, brother of the late Princess Diana, who agrees wholeheartedly that William Dobson was the first great British painter.

This rare film tells the strange, disquieting and protracted story of the restoration of Leonardo da Vinci’s famous masterpiece, The Last Supper. Some say the results of the restoration are glorious. Others have called them tragic. Da Vinci’s famously fragile fresco was always going to be a challenge for its secretive Italian restorers. No one, however, could have foreseen how problematic and strange their task would become. Marked by a series of extraordinary mishaps, mistakes, and miscalculations, the incredible restoration is hilarious to watch but may have resulted in the loss of a masterpiece.

A survey of Hans Holbein's career from his beginnings as a religious painter to his work for Henry VIII and beyond. The program also includes a close analysis of "The Ambassadors".

Sickert vs. Sargent brings to life two of the biggest characters in modern British art; Walter Sickert - the gruff, aggressive man-of-the-people; and John Singer Sargent - the urbane and charming dandy. The film focuses on some of the most beautiful and alarming paintings ever made in this country; pictures of aristocrats and prostitutes, coronations and killings, opera houses and music halls, and will evoke the long-lost atmosphere of Edwardian London. But above all it will show that from their two outposts in Chelsea and Camden, Sickert and Sargent were waging a war whose legacy still haunts us today.

Waldemar Januszczak explores the impact of Mary Magdalene's myth on art and artists. In art all Christian saints are inventions but Mary Magdalene has been the subject of more invention and re-invention than any other.

These days, nobody takes Rubens seriously. His vast and grandiose canvases, stuffed with wobbly mounds of female flesh, have little appeal for the modern gym-subscriber. And it's not just the bulging nudity we don't like. The entire tone of Rubens's art offends us. Everything in it is too big - the epic dramas full of tragedy, the fantastical celestial scenery, the immense canvases and murals adorning the walls and ceilings of Europe's grandest palaces. All of it seems too much for modern sensibilities. But Waldemar Januszczak begs to differ. In Waldemar's eyes, Rubens has been traduced by modern tastes, and a huge misunderstanding of him has taken place. By looking in detail at Rubens's fascinating life, by understanding his art in more enlightened ways, Waldemar sets out to correct the extra-large misconceptions that have arisen about Rubens.

Art Critic Waldemar Januzczak presents this documentary which details french artist Toulouse-Lautrec's life.

Documentary in which art critic Waldemar Januszczak argues that beauty is still to be found in modern art, despite several recent books claiming the contrary.

A curious title given that for 50 minutes, Januszczak snarls his way through a canine critique and it’s not clear which he despises more, dogs or their owners. He visits a dog show which he regards as incorrigibly eccentric and he considers breeding practices to be the canine equivalent of eugenics practised by the Nazis. “We breed them until their heads look like misshapen Halloween pumpkins (often to the detriment of their health), we cut their bollocks off, we send them to a doggy psychiatrist and still most of them won’t do what we want them to do. The message appears to be that we love dogs, but not for themselves, it’s for the prestige they can bestow upon their owners.

Art critic Waldemar Januszczak goes to Ukraine to see how Ukrainian art is being preserved in times of war.