AQA 7256 SP 2017

DRAFT SPECIFICATION

AS
HISTORY OF
ART

DRAFT 7256

Specification
For teaching from September 2017 onwards
For AS exams in 2018 onwards
Version 0.1 2 June 2016


DRAFT SPECIFICATION


AS History of Art DRAFT 7256. AS exams June 2018 onwards. Version 0.1 2 June 2016

Contents
1 Introduction

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1.1 Why choose AQA for AS History of Art
1.2 Support and resources to help you teach
1.3 Draft specification

DRAFT SPECIFICATION

2 Specification at a glance

2.1 Subject content
2.2 Assessments

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3 Subject Content

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3.1 Visual analysis
3.2 Thematic study
3.3 Period study

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4 Scheme of assessment
4.1 Aims
4.2 Assessment objectives
4.3 Assessment weightings

5 General administration
5.1 Entries and codes

5.2 Overlaps with other qualifications
5.3 Awarding grades and reporting results
5.4 Re-sits and shelf life
5.5 Previous learning and prerequisites
5.6 Access to assessment: diversity and inclusion
5.7 Working with AQA for the first time
5.8 Private candidates

6 Appendix 1: Definitions

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DRAFT SPECIFICATION
Are you using the latest version of this specification?
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You will always find the most up-to-date version of this specification on our website at
aqa.org.uk/7256
We will write to you if there are significant changes to the specification.

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AS History of Art DRAFT 7256. AS exams June 2018 onwards. Version 0.1 2 June 2016

1 Introduction
1.1 Why choose AQA for AS History of Art

DRAFT SPECIFICATION

This specification has been designed to offer students the opportunity to explore Art and
Architecture of the world from 500 BC to 2017. Our new specification makes the most of the
enormous holdings of British museums and galleries.
It offers a clear selection of topics to enable teachers to create comparable programmes of study
and it also allows a degree of freedom for students and teachers to make the most of specific
expertise or interests.
A relevant and contemporary qualification
The study of art and architecture in historical and contemporary forms will give students a broad
knowledge of world civilisations including the artistic production of different cultures, groups and
individuals worldwide. Students will also gain a life-long enjoyment of the art and architecture that
surrounds them.

Visual analysis
Students will gain knowledge and understanding of the formal characteristics and terminology of
History of Art and a general knowledge and understanding of historical, social and cultural contexts
of painting, sculpture and architecture.
The thematic study of a particular topic across time and place
The three selected themes link to issues that concern young people. Themes such as conflict,
identity and the environment demonstrate how studying art of the past and present has a relevance
to, and a place within, our daily lives.
The in-depth study of a particular period
The periods of study have been selected to introduce students to some of the most exciting and
significant eras in the history of Art and Architecture.
Where can it take you?
The study of History of Art requires students to develop visual and analytical skills that can be
applied to many walks of life as well as tools to understand how images and objects shape our
social and political identities. It encourages lifelong learning and provides access to higher
education and university degree courses in art history and related subjects. It also offers access to
art historical-related careers as well as others.
You can find out about all our History of Art qualifications at aqa.org.uk/historyofart

1.2 Support and resources to help you teach
We’ve worked with experienced teachers to provide you with a range of resources that will help
you confidently plan, teach and prepare for exams.

Teaching resources
Visit aqa.org.uk/7256 to see all our teaching resources. They include:
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• specimen papers and mark schemes to show the standards required and how your students’
papers will be marked

• sample schemes of work to help you plan your course with confidence
• training courses to help you deliver AQA History of Art qualifications
• a phone and email based subject team to support you in the delivery of the specification.

Preparing for exams
Visit aqa.org.uk/7256 for everything you need to prepare for our exams, including:
past papers, mark schemes and examiners’ reports
specimen papers and mark schemes for new courses
Exampro: a searchable bank of past AQA exam questions
exemplar student answers with examiner commentaries.

Analyse your students' results with Enhanced Results Analysis (ERA)
Find out which questions were the most challenging, how the results compare to previous years
and where your students need to improve. ERA, our free online results analysis tool, will help you
see where to focus your teaching. Register at aqa.org.uk/era
For information about results, including maintaining standards over time, grade boundaries and our
post-results services, visit aqa.org.uk/results

Keep your skills up-to-date with professional development
Wherever you are in your career, there’s always something new to learn. As well as subjectspecific training, we offer a range of courses to help boost your skills.
• Improve your teaching skills in areas including differentiation, teaching literacy and meeting
Ofsted requirements.
• Prepare for a new role with our leadership and management courses.
You can attend a course at venues around the country, in your school or online – whatever suits
your needs and availability. Find out more at coursesandevents.aqa.org.uk

Help and support available
Visit our website for information, guidance, support and resources at aqa.org.uk/7256
If you'd like us to share news and information about this qualification, sign up for emails and
updates at aqa.org.uk/from-2017

Alternatively, you can call or email our subject team direct.
E:
T: 01483 437 750

1.3 Draft specification
This draft qualification has not yet been accredited by Ofqual. It is published to enable teachers to
have early sight of our proposed approach to AS History of Art. Further changes may be required
and no assurance can be given that this proposed qualification will be made available in its current
form, or that it will be accredited in time for first teaching in September 2017 and first award in
August 2018.

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DRAFT SPECIFICATION

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AS History of Art DRAFT 7256. AS exams June 2018 onwards. Version 0.1 2 June 2016

2 Specification at a glance
This qualification is linear. Linear means that students will sit all their exams at the end of the
course.

2.1 Subject content

DRAFT SPECIFICATION

Core content
1. Visual analysis (page 9)
Options
4. Thematic study (page 10)
5. Period study (page 15)

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2.2 Assessments
Paper 1: Themes

• Section A: Visual analysis
• Section B: Thematic study – choose one from:
• Nature in Art
• Identities in Art
• War in Art
• Section C: Period study – choose one from:
• Invention and illusion: The Renaissance in Italy (1420–1520)
• Rebellion and revival: The ‘Avant-Garde’ in Britain and France (1848–1899)
• Pop Life: ‘Contemporary’ Art and Architecture in Britain and USA (1960–2015)
How it's assessed
• Written exam: 3 hours
• 120 marks
• 100% of AS
Questions
Section A: Visual Analysis
• 3 source-based questions (unseen images)
• 12 marks each

• Total 36 marks
Section B: Thematic Study
• 4 x short questions (total 17 marks)
• 1 x essay (25 marks)
Section C: Period Study
• 4 x short questions (total 17 marks)
• 1 x essay (25 marks)

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DRAFT SPECIFICATION

What's assessed


AS History of Art DRAFT 7256. AS exams June 2018 onwards. Version 0.1 2 June 2016

3 Subject Content
The study of art in its historical and contemporary forms gives young people crucial knowledge of
world civilisations. It gives students visual and analytical skills that can be applied in many walks of
life and the tools to understand how images and objects work to shape our social and political
identities. This specification allows students to develop particular strengths and interests,
encourages lifelong learning and provides access to higher education and university degree
courses in art history and related subjects as well as art historical-related and other careers.
Students should be encouraged to research and investigate art through first hand experience.

DRAFT SPECIFICATION

The subject content is divided into three components:
1. Section A: Visual Analysis

2. Section B: Thematic Study of World Art and Architecture
3. Section C: Period Study of Art and Architecture

3.1 Visual analysis
Students must develop knowledge and understanding of formal characteristics and terminology,
and a general knowledge and understanding of historical, social and cultural contexts for painting,
sculpture and architecture. This section of the exam will assess skills of visual analysis and is
designed to equip candidates to analyse and interpret the formal visual features and stylistic
elements of painting, sculpture and architecture. The section contains questions based on
photographs of identified works of art in three categories: painting, sculpture and architecture. In
each category one photograph will be provided and candidates must answer all three questions.
Examples will be drawn from Classical Greece to the present day (500 BC–AD 2017).
Marks on this section of the paper will be awarded only for the identification and interpretation of
aspects of the given images and not for prior knowledge of any work of art or architecture.
The list below shows the formal characteristics or elements of style required for visual analysis that
students must know and understand in order to answer questions in the ‘unseen’ Section A of the
examination.
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Architectural elements
Colour

Composition
Light
Line
Pattern
Scale
Shape
Space
Volume and mass

Students must be able to analyse and interpret the specific meanings and messages achieved by
the artist's manipulation of these formal characteristics.
Students must also understand and be able to apply their knowledge of how these formal
characteristics can be influenced by:

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• function
• materials, techniques and processes.

3.2 Thematic study
One theme must be selected from the three options:

Thematic study is intended to be an inherently broad-based exploration of the developments in art
and connections between movements and periods (before and after 1850). Therefore all students
must explore all strands outlined in the investigation areas outlined for each theme. Students must
study work across at least three types of art.
Students must research in detail at least two works by each of three artists from the choice of
specified artists given for each theme. (Two works of art have been listed where the name of the
artist is unknown.) The study must incorporate the areas of investigation outlined for each theme.

• One selected specified artist must have produced work before 1850 and one must have
produced work from after 1850.
• The third specified artist may have produced work before of after1850.
• Selection of the two works for each specified artist and at least a further four works by other
influential artists is at the discretion of the teacher and student.
• These further works, together with the work by selected specified artists, must be sufficient to
address all of the topic content listed for each area of study.
• These further works, together with the work by selected specified artists must cover three types
of art, 2D, 3D and architecture (see Appendix 1: Definitions (page 27)).
• All works must be in the public domain such that they are easily accessible to examiners.
• The same work of art may not be used across more than one theme or period.
• Works must be identified by artist and title, however if the name of the artist is unknown, or
there are multiple works with the same title, the student will also be expected to give date and
location for clear identification.
• All thematic study must incorporate the formal study and contextual analysis of works of global
art and architecture from beyond the European tradition of culture.
• All students must study at least one work from beyond the European tradition of art in 2D or 3D
and at least one work from beyond the European tradition in architecture from before and after
1850 in each of their thematic areas of study (see Appendix 1: Definitions (page 27)).
• The tradition of Non-European art refers to art objects originating from cultures and societies
across the world: eg Japan, China, Africa, India or the Middle East. For the purposes of this
specification, the European tradition includes the cultures of Europe and the arts utilising
European aesthetics. Therefore, arts of colonised areas such as the United States, Australia,
New Zealand and Canada are considered part of the ‘European tradition’ but the arts from the
indigenous peoples of these countries are referred to as beyond the European tradition. These
works must be explored in relation to their own cultures and contexts.
All students must develop the ability to apply their knowledge and understanding in evidenced,
structured arguments of the following investigations:
• the art‒historical terms and concepts relevant to the theme
• the influential artists and art of key historical movements, periods and types of art relevant to the

theme

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DRAFT SPECIFICATION

1. Nature in Art
2. The Art of Identities
3. The Art of War


AS History of Art DRAFT 7256. AS exams June 2018 onwards. Version 0.1 2 June 2016

• changes in art over time, including: the influence of cultural, social, political and technological
factors on relevant works of art, artists and movements/periods
• the significant developments in materials, techniques and processes and how they have
contributed to changes in art
• the ways in which art has been used and interpreted by past and present societies.

3.2.1 Nature in Art

DRAFT SPECIFICATION

A source of inspiration, a symbol of belonging or as an ideal of perfection; the natural world has
always played a vital part in shaping our art and architecture. This theme covers the ways in which
the motifs, messages and materials of nature have been used across time and place. Students will
study the variety and connections in works from across the world, and from both before and after
1850.
Students must research in detail at least two works by each of three artists from the choice of
specified artists. At least one work needs to be from before 1850 and at least one from after 1850.

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Katsushika Hokusai (1760‒1849)
JMW Turner (1775‒1851)
Claude Monet (1840‒1926)
Antoni Gaudí (1852‒1926)
Georgia O’Keeffe (1887‒1986)
Richard Long (b.1956)

At least four further works by other influential artists must also be studied in order to cover all the
required learning outlined below.
The following table details the art-historical investigations for this area of study which will be
assessed in Section B. Students must use their knowledge and understanding to develop
evidenced, structured arguments and demonstrate their critical judgement.
Investigation

Theme coverage (pre and post 1850)

Art‒historical terms and concepts

• Terms: relevant technical language for 2D, 3D and
architecture.
• Concepts: formal characteristics and their effects
or contributions to meaning.
• Concepts of the sublime, pastoral, topographical

and land art.
• Biomorphic, zoomorphic and organic architecture.

Subjects, forms, styles, contributions of
movements, artists and art

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Subjects: land/seascape genre in 2D.
Land/earth art in 3D.
Representation of animals in art in 2D and 3D.
Architecture influenced by nature (eg biomorphic,
organic); changing relationship between wo/man
and nature.
• Styles: contribution and influences of specified and
other artists.
• Subjects and styles of artworks shaped by the
nature from beyond the European tradition.

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Theme coverage (pre and post 1850)

Influence of cultural, social, political and
technological factors on movements,
artists and art

• Impact of the identity and status of artist.
• Significance of, and relationship to place.
• Significance of events, values and changing
contexts in selected works of art.
• Contexts of artworks from beyond the European
tradition.

Developments in materials, techniques
and processes and their contribution to
changes in art

• Use of natural materials in 3D and architectural
work.
• Development of techniques and processes inspired
by the natural world in 3D and architectural work.
• Different materials, techniques and processes in
work from beyond the European tradition.

Ways in which art has been used and
interpreted by past and present societies

• Function in 2D, 3D and architecture.
• Significance of patronage.
• Use and interpretation of works from beyond the
European tradition.
• Changing relationship between wo/man and nature
(both constructive and destructive).

3.2.2 Identities in Art

Art and architecture have always played a vital part in the expression of identity. Works shape our
understanding of gender, nationality and ethnicity both as individuals and as societies. This theme
covers the representation of divine beings, of individuals and groups and of communities or nations
in 2D, 3D and architecture across time and place. Students will study the variety and connections
in global works from both before and after 1850.
Students must research in detail at least two works by each of three artists from this list, exploring
the investigations as outlined below. At least one work needs to be from before 1850 and at least
one from after 1850.
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Benin bronze plaques (1550‒1650)
Rembrandt (1606‒1669)
Christopher Wren (1632‒1723)
Vincent van Gogh (1853‒1890)
Frida Kahlo (1907‒1954)
Chris Ofili (b1968)

At least four further works by other influential artists must also be studied in order to cover all the
required learning outlined below.
The following table details the art-historical investigations for this area of study which will be
assessed in Section B. Students must use their knowledge and understanding to develop
evidenced, structured arguments and demonstrate their critical judgement.

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DRAFT SPECIFICATION

Investigation


DRAFT SPECIFICATION

AS History of Art DRAFT 7256. AS exams June 2018 onwards. Version 0.1 2 June 2016

Investigation

Theme coverage (pre and post 1850)

Art-historical terms and concepts

• Relevant terminology for 2D, 3D and architecture.
• Formal characteristics and their effects or
contributions to meaning.
• Changing concepts of identity, nationality,
ethnicity.

Subjects, forms, styles, contributions of
movements, artists and art

• Divine identity in at least two different cultures.
• Portraits of human identity: self, single and group
in 2D or 3D.
• Gender, national and ethnic identity in 2D or 3D
and architecture.
• Contribution and influences of specified and other

artists.
• Identity in artworks from beyond the European
tradition.

Influence of cultural, social, political and
• Impact of the identity and status of artist.
technological factors on movements, artists • Significance of, and relationship to place.
and art
• Conflicted identity: social/political protest in 2D or
3D works.
• Significance of events, values and changing
contexts in selected works of art.
• Contexts of artworks from beyond the European
tradition.
Developments in materials, techniques and • Significance of materials in 3D work and
processes and their contribution to
architecture
changes in art
• Different materials, techniques and processes
from beyond the European tradition.
Ways in which art has been used and
interpreted by past and present societies

• Function in 2D, 3D and architecture.
• Significance of patronage.
• Use and interpretation of works from beyond the
European tradition.
• Changing relationship between individual and
society or community.

3.2.3 The Art of War
An expression of triumph or loss; our responses and attitudes to war are shaped by works which
remember and either support or challenge the conflict. Over time and place, attitudes towards war
have changed significantly and this theme covers the preparation, participation and responses to
international and civil wars in works of 2D and 3D art and in architecture. Students will study the
variety and connections in works from across the world, and from both before and after 1850.
Students must research in detail at least two works by each of three artists from this list, exploring
the investigations outlined below. At least one work needs to be from before 1850 and at least one
from after 1850.

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‘Augustus of Prima Porta’ & ‘Ara Pacis’ (c13BC‒15AD)
Red Fort and Agra Fort of Shah Jahan (c1628‒58)
Francisco Goya (1746‒1828)
Otto Dix (1891‒1969)
Käthe Kollwitz (1867‒1945)
Henry Moore (1898‒1986)

At least four further works by other influential artists must also be studied in order to cover all the
required learning outlined below.

Investigation

Theme coverage (pre and post 1850)

Art-historical terms and concepts

• Relevant technical language for 2D, 3D and
architecture.
• Formal features and their effects or contributions to
meaning.
• Concepts of international and civil war,
propaganda, resistance and protest; heroism and
martyrdom.
• Defensive and commemorative architecture.

Subjects, forms, styles, contributions of
movements, artists and art

• Subjects: representation of historical and
mythological (including religious) wars in 2D and
3D.
• Representation of leaders, participants and places
affected by war in 2D and 3D.
• Memorials commemorating loss and triumph in 2D
and 3D.
• Styles: defensive and commemorative architecture.
• Contribution and influences of specified and other
artists.
• Artworks about war from beyond the European
tradition.

Influence of cultural, social, political and
technological factors on movements,
artists and art

• Impact of the identity, status and perspective of
artist.
• Significance of, and relationship to place of conflict.
• Significance of events, date, outcomes of war/s
reflected in selected works of art.
• Contexts of artworks from beyond the European
tradition.

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DRAFT SPECIFICATION

The following table details the art-historical investigations for this theme which will be assessed in
Section B. Students must use their knowledge and understanding to develop evidenced, structured
arguments and demonstrate their critical judgement.


DRAFT SPECIFICATION

AS History of Art DRAFT 7256. AS exams June 2018 onwards. Version 0.1 2 June 2016

Investigation

Theme coverage (pre and post 1850)

Developments in materials, techniques
and processes and their contribution to
changes in art

• Relationship between materials and message in
3D work.
• Significance of changing techniques and processes
3D and architectural work.
• Different materials, techniques and processes in
work from beyond the European tradition.

Ways in which art has been used and
interpreted by past and present societies

• Function in 2D, 3D and architecture.
• Significance of patronage.
• Use and interpretation of works from beyond the
European tradition.
• Changing attitudes towards war amongst artists,
patrons and audiences.

3.3 Period study
One period must be selected from the three following options:
1. Invention and illusion: The Renaissance in Italy (1420‒1520)
2. Rebellion and revival: The ‘Avant-Garde’ in Britain and France (1848‒1899)
3. Pop life: Contemporary art and architecture in Britain and the USA (1960‒2015)
The study of a specific period is intended to allow students the opportunity to research and explore
in detail the key movements, concepts, artists, contextual factors and related developments in a
specific place/s and across a clearly bonded time frame.
• Students must study at least three works by at least two of the specified artists (from a choice of

five) given for each period option.
• Required investigation coverage is outlined in detail for each period and students must study at
least a further four works in order to build extensive knowledge and understanding for the
compulsory questions in Section C.
• Although students may study works by the same artist across their selected theme/s and
period/s, each individual work of art or architecture may be studied only once across the course.
• Selection of three works for each specified artist and additional works by other influential artists
is at the discretion of the teacher and student. However, the works must be in the public domain
such that they are easily accessible to examiners.
• These further works, together with the work by selected specified artists must cover three types
of art, 2D, 3D and architecture (see Appendix 1: Definitions (page 27)
All students must develop the ability to apply their knowledge and understanding in evidenced,
structured arguments of the following investigations:
• the art‒historical terms and concepts relevant to the period
• the influential artists and art of key historical movements and types of art in each period
• the influence of cultural, social, political and technological factors on works of art, artists and
movements in each period
• the significant developments in materials, techniques and processes and how they have
contributed to changes in art
• the ways in which art has been used and interpreted by past and present societies.

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3.3.1 Invention and illusion: The Renaissance in Italy (1420–1520)
This period spans one of the most extraordinary concentrations of artistic achievement that the
world has ever seen. The ideas, values and iconic works of the Italian Renaissance continue to
shape our own ideas of beauty, perfection and heritage today. Beginning with the innovative
challenges of Masaccio in Florence, students will explore the cultural contexts of the Renaissance
through the work of Donatello, Brunelleschi, Bellini and Michelangelo amongst others. Students

must consider the impact of different styles, materials and techniques of the time as well as
exploring and evaluating the impact of the regional historical events, philosophical developments
and the changing status of both artists and patrons on art and architecture.

Students must research in detail at least three works by each of two artists from this list, exploring
the investigations outlined below.
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Masaccio (1401‒1428) only works produced in or after 1420
Donatello (1377‒1446) only works produced in or after 1420
Brunelleschi (1377‒1446) only works produced in or after 1420
Giovanni Bellini (1430‒1516)
Michelangelo (1475‒1564) only works produced up to 1520

Further works by other influential artists must also be studied in order to cover all the required
learning outlined below.
The following table details the art-historical investigations for this period which will be assessed in
Section C. Students must use their knowledge and understanding to develop evidenced, structured
arguments and demonstrate their critical judgement.
Investigation

Period coverage

Art‒historical terms and concepts

• Terms: relevant technical language for 2D, 3D and

architecture; formal features and their effects or
contributions to meaning.
• Concepts: the ‘Renaissance’, Humanism, NeoPlatonism.

Subjects, forms, styles, contributions • Subjects: religious, mythological, portraits (in 2D and
of movements, artists and art
3D).
• Styles: origins, aims, characteristics, developments and
variations of ‘Renaissance’ style across the century and
city-states.
• Specified & other artists: identity, training, artworks,
contributions, influences.
• Architecture: religious and secular buildings in the three
city-states.
Influence of cultural, social, political
and technological factors on
movements, artists and art

• Cultural/social factors: philosophy eg Humanism, NeoPlatonism; rise of trade, education and the city.
• Political/technological: impact of events, relationships
between states and European players as appropriate,
Savonarola, the Popes; development of printing.

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DRAFT SPECIFICATION

This option covers the work produced across the Italian city-states of Venice, Florence and Rome.
Teachers are asked to be mindful of the dates 1420‒1520 and to select works which fall clearly
within this period.

DRAFT SPECIFICATION

AS History of Art DRAFT 7256. AS exams June 2018 onwards. Version 0.1 2 June 2016

Investigation

Period coverage

Developments in materials,
techniques and processes and their
contribution to changes in art

• In 2D: fresco, tempera and oil (may also include
drawings or cartoons)
• In 3D: relationship between material and purpose:
bronze, wood, marble, new use of terracotta and glazes.
• In Architecture: challenges and solutions (traditional and
innovative).
• Significance of variations across the three city-states.
• Significance of environment/setting in 2D, 3D and
architecture.

Ways in which art has been used
and interpreted by past and present
societies

• Function in 2D, 3D and architecture.
• Significance of patronage (eg Medici, Popes, Guilds,

Scuole).
• Use and interpretation of artworks by societies and
audiences.

3.3.2 Rebellion and revival: The Avant-Garde in Britain and France
(1848–1899 )
Was it the spirit of the 1848 rebellions that sparked the extraordinary originality and inventiveness
of art and architecture in the second half of the nineteenth century? As Europe responded to a time
of industrial change, technological advances made the world feel faster, more exhilarating, and
also more disorientating. It was often the creative work of artists and architects that demonstrated
the inspiration or challenges of this ‘progress’ to the world.
This option offers the opportunity to explore the works of the Impressionists and Post‒
Impressionists as well as those of the Pre-Raphaelite and Art Nouveau movements in Britain and
France. Students will look closely at the profound social, political and technological changes of this
era and explore and evaluate their impact on artists and their art.
Students must research in detail at least three works by each of two artists from this list, exploring
the investigations outlined below.
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John Everett Millais (1829‒1926)
Édouard Manet (1832‒1883)
Edgar Degas (1834‒1917) only works produced up to 1899
Auguste Rodin (1840‒1917) only works produced up to 1899
Berthe Morisot (1841‒1895)

Further works by other influential artists must also be studied in order to cover all the required

learning outlined below.
The following table details the art-historical investigations for this Period which will be assessed in
Section C. Students must use their knowledge and understanding to develop evidenced, structured
arguments and demonstrate their critical judgement.

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Period coverage

Art‒historical terms and concepts

• Terms: relevant technical language for 2D, 3D and
architecture, formal features and their effects or
contributions to meaning.
• Concepts: Romanticism, Neo-Classicism,
Japonisme.

Subjects, forms, styles, contributions of
movements, artists and art

• Subjects: the traditional and new use of the genres
of history, portraiture, landscape, still life and
everyday life; the rise of subjects such as modern
leisure and work scenes, the nude/human figure.
• Styles: origins, aims, characteristics, developments
and variations of Realism, Impressionism, PostImpressionism; Symbolism; Art Nouveau; PreRaphaelite and Victorian art.
• Specified & other artists: identity, training, artworks,
contributions, influences.
• Architecture: religious and secular buildings; public

and private buildings in England and France; Art
Nouveau and Arts and Crafts styles.

Influence of cultural, social, political and
technological factors on movements,
artists and art

• Cultural/social: influence and impact of literary and
philosophical ideas: Ruskin, Baudelaire, Marx,
Darwin and of Aestheticism.
• Political: events and impact of the 1848 protests
and other significant events, including the FrancoPrussian War, Paris Commune, French Second
Empire, rule of Queen Victoria, expansion and
colonisation.
• Technological: impact of new developments in
industry, photography, science, transportation,
technology.

Developments in materials, techniques
and processes and their contribution to
changes in art

• In painting: new availability of oil paints in tubes,
plein air painting, impact of photography on
technique and process.
• In architecture: new industrial materials and impact
of industrial engineering.
• In sculpture: the new expressive use of materials
and new ways of working.

Ways in which art has been used and
• Function in 2D, 3D and architecture.
interpreted by past and present societies • Significance of patronage, developments in role as
both commissioners and collectors.
• Use and interpretation of artworks by societies and
audiences.

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DRAFT SPECIFICATION

Investigation


AS History of Art DRAFT 7256. AS exams June 2018 onwards. Version 0.1 2 June 2016

3.3.3 Pop life: Contemporary art and architecture in Britain and the
USA (1960–2015 )

DRAFT SPECIFICATION

The 1960s witnessed the expansion of consumer culture, along with widespread political upheaval
as groups of young people expressed their opposition to a range of issues. In many ways, the
period laid the foundations for society today: from celebrity culture to the democratic claims made
by some for the internet. The difficulty of finding an appropriate style ‘label’ is a mark of the vitality
and breadth of individual expression in the art and architecture in these post‒war years, as artists
push boundaries, ask new questions and use their work to make us see the world afresh.
This module explores the relationship between Britain and the USA in art and architecture, and the
dynamic nature of responses on both sides of the Atlantic. Students will explore how key artists
and use their voice in contemporary politics, philosophy and arguments of identity as well as

considering the changing role of the gallery and the impact on our environment of architectural
creations by Norman Foster and others.
Students must research in detail at least three works by each of two artists from this list exploring
the investigations outlined below.
•
•
•
•
•

Andy Warhol (1928‒1987) only works produced after 1960
Norman Foster (b1935) only works produced up to 2015
Mary Kelly (b1941) only works produced up to 2015
Yinka Shonibare MBE (b1962) only works produced up to 2015
Rachel Whiteread (b1963) only works produced up to 2015

Further works by other influential artists must also be studied in order to cover all the required
learning outlined below.
The following table details the art-historical investigations for this period which will be assessed in
Section C. Students must use their knowledge and understanding to develop evidenced, structured
arguments and demonstrate their critical judgement.
Investigation

Period coverage

Art‒historical terms and concepts

• Terms: relevant technical language for 2D, 3D and
architecture, formal features and their effects or
contributions to meaning.

• Concepts: performance art, Land Art; second wave
feminism; political protest and identity; race and
gender identity; site-specific installations.

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Period coverage

Subjects, forms, styles, contributions of
movements, artists and art

• Subjects: the developments, representations,
messages of abstract and non-figurative work;
figurative work; the integration of every-day life
objects and ideas as subjects for art.
• Styles: origins, aims, characteristics, developments
and variations of later Abstract Expressionism; Pop
Art; Minimalism; Conceptual Art, Op Art, YBA.
• Specified & other artists: identity, training, artworks,
contributions, influences.
• Architecture: public (including corporate
commissions) and private buildings; in styles:
Brutalism, High-Tech, Post-Modernism and
Deconstructivism.

Influence of cultural, social, political and
technological factors on movements,
artists and art

• Cultural/social: influence and impact of social
change and challenge eg feminism; multiculturalism; consumerism; race and gender
debates; philosophical and psychological issues
• Political: events and artistic impacts of 1968
protests, Civil Rights Movement, of international
events and relationships eg Vietnam, Cuba, Iraq
and Gulf Wars, fall of Communist regimes, rise of Al
Qaeda and the War on Terror,
• Technological: impact of new developments in film,
computers, internet, social media on art and artists.

Developments in materials, techniques
and processes and their contribution to
changes in art

• In 2D: new ideas, eg video, installations, video and
photo-montage; acrylic, textiles as well as the
continued use of traditional media.
• In 3D: huge expansion of materials, new
relationships between materials, forms and
messages; use of artists themselves as media for
their work; performance art; dissolution of
boundaries between ‘sculpture’ and other media;
Earth and Land Art.
• In architecture: impact of new computerised
techniques in design and availability of new
materials.

Ways in which art has been used and
• Function in 2D, 3D and architecture.

interpreted by past and present societies • Significance of patronage, developments in role as
both commissioners and collectors; the dealer; eg
Charles Saatchi; Turner Prize.
• Use and interpretation of artworks by societies and
audiences.

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DRAFT SPECIFICATION

Investigation


AS History of Art DRAFT 7256. AS exams June 2018 onwards. Version 0.1 2 June 2016

4 Scheme of assessment
Find past papers and mark schemes, and specimen papers for new courses, on our website at
aqa.org.uk/pastpapers
This specification is designed to be taken over one or two years.
This is a linear qualification. In order to achieve the award, students must complete all
assessments at the end of the course and in the same series.

DRAFT SPECIFICATION

AS exams and certification for this specification are available for the first time in May/June 2018
and then every May/June for the life of the specification.
All materials are available in English only.
Our AS exams in History of Art include questions that allow students to demonstrate their ability to:
• recall information
• draw together information from different areas of the specification

• apply their knowledge and understanding in practical and theoretical contexts.

4.1 Aims
Courses based on this specification should encourage students to:
• engage actively and independently in historical, theoretical and critical study of art
• encouraged, where possible, to research and investigate art through first-hand experience of
works of art
• understand the relationship between society, culture, technology, politics and art
• understand the ways in which art has been used and interpreted by past and present societies
• understand the influences on, and contributions of, artists
• know key art historical terms, concepts and issues
• understand how visual language is used by artists to communicate ideas, including formal
characteristics, materials, techniques, and processes
• able to analyse and make critical judgements about art
• use evidence to substantiate structured arguments about art
• study a sufficient range of artists and works of art to ensure an appropriate depth and breadth of
knowledge and understanding of specified movements/periods and themes.

4.2 Assessment objectives
Assessment objectives (AOs) are set by Ofqual and are the same across all AS History of Art
specifications and all exam boards.
The exams will measure how students have achieved the following assessment objectives.
• AO1: Demonstrate knowledge and understanding of contexts of art.
• AO2: Analyse and interpret artists’ work, demonstrating understanding of visual language.
• AO3: Make critical judgements about art through substantiated, reasoned argument.

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Assessment objective weightings for AS History of Art

Assessment objectives (AOs)

Componen Overall weighting
t
(approx %)
weightings
(approx %)

AO1

35

35

AO2

35

35

AO3

30

30

Overall weighting of components

100

100

4.3 Assessment weightings
The marks awarded on the papers will be scaled to meet the weighting of the components.
Students’ final marks will be calculated by adding together the scaled marks for each component.
Grade boundaries will be set using this total scaled mark. The scaling and total scaled marks are
shown in the table below.
Component

Maximum raw mark

Scaling factor

Maximum scaled mark

Paper 1

120

x1

120
Total scaled mark: 120

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DRAFT SPECIFICATION

Paper 1

AS History of Art DRAFT 7256. AS exams June 2018 onwards. Version 0.1 2 June 2016

5 General administration
You can find information about all aspects of administration, as well as all the forms you need, at
aqa.org.uk/examsadmin

5.1 Entries and codes

DRAFT SPECIFICATION

You only need to make one entry for each qualification – this will cover all the question papers,
non-exam assessment and certification.
Every specification is given a national discount (classification) code by the Department for
Education (DfE), which indicates its subject area.
If a student takes two specifications with the same discount code, further and higher education
providers are likely to take the view that they have only achieved one of the two qualifications.
Please check this before your students start their course.
Qualification title

AQA entry code

DfE discount
code

AQA Advanced Subsidiary GCE in History of Art

7256

TBC

This specification complies with:
•
•
•
•

Ofqual General conditions of recognition that apply to all regulated qualifications
Ofqual GCE qualification level conditions that apply to all GCEs
Ofqual GCE subject level conditions that apply to all GCEs in this subject
all other relevant regulatory documents.

The Ofqual qualification accreditation number (QAN) is TBC.

5.2 Overlaps with other qualifications
There is overlapping content in the AS and A-level History of Art specifications. This helps you
teach the AS and A-level together.

5.3 Awarding grades and reporting results
The AS qualification will be graded on a five-point scale: A, B, C, D and E.
Students who fail to reach the minimum standard for grade E will be recorded as U (unclassified)
and will not receive a qualification certificate.

5.4 Re-sits and shelf life
Students can re-sit the qualification as many times as they wish, within the shelf life of the
qualification.

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5.5 Previous learning and prerequisites
There are no previous learning requirements. Any requirements for entry to a course based on this
specification are at the discretion of schools and colleges.

5.6 Access to assessment: diversity and inclusion
The subject criteria have been assessed to see if any of the skills or knowledge required present
any possible difficulty to any students, whatever their ethnic background, religion, sex, age,
disability or sexuality. If any difficulties were encountered, the criteria were reviewed again to make
sure that tests of specific competences were only included if they were important to the subject.
As members of the Joint Council for Qualifications (JCQ) we participate in the production of the
JCQ document Access Arrangements and Reasonable Adjustments: General and Vocational
qualifications. We follow these guidelines when assessing the needs of individual students who
may require an access arrangement or reasonable adjustment. This document is published on the
JCQ website at jcq.org.uk

5.6.1 Students with disabilities and special needs
We can make arrangements for disabled students and students with special needs to help them
access the assessments, as long as the competences being tested are not changed. Access
arrangements must be agreed before the assessment. For example, a Braille paper would be a
reasonable adjustment for a Braille reader but not for a student who does not read Braille.
We are required by the Equality Act 2010 to make reasonable adjustments to remove or lessen
any disadvantage that affects a disabled student.
If you have students who need access arrangements or reasonable adjustments, you can apply
using the Access arrangements online service at aqa.org.uk/eaqa

5.6.2 Special consideration
We can give special consideration to students who have been disadvantaged at the time of the
assessment through no fault of their own – for example a temporary illness, injury or serious
problem such as the death of a relative. We can only do this after the assessment.
Your exams officer should apply online for special consideration at aqa.org.uk/eaqa

For more information and advice about access arrangements, reasonable adjustments and special
consideration please see aqa.org.uk/access or email

5.7 Working with AQA for the first time
If your school or college has not previously offered any AQA specification, you need to register as
an AQA centre to offer our specifications to your students. Find out how at aqa.org.uk/
becomeacentre

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DRAFT SPECIFICATION

General qualifications are designed to prepare students for a wide range of occupations and
further study. Therefore our qualifications must assess a wide range of competences.


AS History of Art DRAFT 7256. AS exams June 2018 onwards. Version 0.1 2 June 2016

5.8 Private candidates
This specification is available to private candidates.
A private candidate is someone who enters for exams through an AQA-approved school or college
but is not enrolled as a student there.
A private candidate may be self-taught, home-schooled or have private tuition, either with a tutor or
through a distance learning organisation. You must be based in the UK.

DRAFT SPECIFICATION

If you have any queries as a private candidate, you can:
• speak to the exams officer at the school or college where you intend to take your exams
• visit our website at aqa.org.uk/privatecandidates

• email:

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