Marr builds his thesis through interviews with Churchill`s family, associated art experts and even the son of the bodyguard and art assistant who accompanied the great man in later life on his painting expeditions. These are then given colour as like some latter day Alan Whicker he expounds on location in the Cote D`Azur, Marrakesh and - nearer home - Chartwell, where the National Trust has preserved Churchill`s studio, painting implements and 130 of his works.
Churchill painted in his studio at Chartwell but by all accounts was happiest painting `en plein air` and in sunnier climes - hence the South of France or North Africa - complete with parasol, cigar, panama hat and the assorted paraphernalia of outdoor painting. His preferred style was impressionistic, painterly and he was not afraid of using bold colours and bludgeoning the canvas into submission.
He characteristically dismissed his own paintings as `daubs` and indeed he must have felt rather insignificant in an artistic sense when mingling as he did with the English painters of his day - Walter Sickert, William Nicholson , John Lavery - from whom he picked up advice and tips.
Now of course his paintings fetch handsome sums and no doubt his eyes were twinkling with amusement and no little pride as he looked down from his painterly heaven on the fifteen million pounds that Sotheby`s raised last December from the 256 lots of paintings and objects from Mary Soames` estate.
So do try to watch this whilst you still can.
And I take my hat off to my old university chum Andrew Marr for his candour and his enthusiasm in showing us all how - in the crucible of creation - the soul itself is salved.