AQA 7257 SP 2017

DRAFT SPECIFICATION

A-LEVEL
HISTORY OF
ART

DRAFT 7257

Specification
For teaching from September 2017 onwards
For A-level exams in 2019 onwards
Version 0.1 2 June 2016


DRAFT SPECIFICATION


A-level History of Art DRAFT 7257. A-level exams June 2019 onwards. Version 0.1 2 June 2016

Contents
1 Introduction

5

1.1 Why choose AQA for A-level 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

11

3.1 Visual analysis
3.2 Thematic study
3.3 Period study

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12
19

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/7257
We will write to you if there are significant changes to the specification.

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A-level History of Art DRAFT 7257. A-level exams June 2019 onwards. Version 0.1 2 June 2016

1 Introduction
1.1 Why choose AQA for A-level 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 from across the globe. 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 five 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
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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
• a phone and email based subject team to support you in the delivery of the specification.
• training courses to help you deliver AQA History of Art qualifications
• subject expertise courses for all teachers, from newly-qualified teachers who are just getting
started to experienced teachers looking for fresh inspiration.

Preparing for exams
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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/7257
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 A-level History of Art. Further changes may be
required and no assurance can be given that this proposed qualification will be made available in
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DRAFT SPECIFICATION

Visit aqa.org.uk/7257 for everything you need to prepare for our exams, including:


A-level History of Art DRAFT 7257. A-level exams June 2019 onwards. Version 0.1 2 June 2016

DRAFT SPECIFICATION

its current form, or that it will be accredited in time for first teaching in September 2017 and first
award in August 2019.

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DRAFT SPECIFICATION
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A-level History of Art DRAFT 7257. A-level exams June 2019 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 11)
Options
2. Thematic study (page 12)
3. Period study (page 19)

2.2 Assessments
Paper 1: Themes
What's assessed
• Section A: Visual analysis
• Section B: Thematic study - two from a choice of four:
• Nature in Art
• Identities in Art
• War in Art
• Journeys in Art

How it's assessed
• Written exam: 3 hours
• 110 marks
• 50% of A-level
Questions
Section A: Visual analysis
• 3 source-based (unseen images)
• 12 marks each
• Total 36 marks
Section B: Thematic study
• Choose 2 themes (must cover at least 3 types of art, each including one pre-1850 and one
post-1850
• 2 short answer questions, one per theme (12 marks each, total 24 marks)
• 2 concise essays, one per theme (25 marks each, total 50 marks)

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Paper 2: Period Study
What's assessed
Two from a choice of five:
Invention and Illusion: The Renaissance in Italy (1420-1520)
Power and Persuasion: The Baroque in Catholic Europe (1597-1685)
Rebellion and Revival: The ‘Avant-Garde’ in Britain and France (1848-1899)
Brave New World: ‘Modernism’ in Europe (1900-1939)
Pop Life: ‘Contemporary’ Art and Architecture in Britain and the USA (1960-2015)

How it's assessed
• Written exam: 3 hours
• 110 marks

• 50% of A-level
Questions
Period study:
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choose 2 periods
2 short answer questions (5 marks each, total 10 marks)
1 concise essay (15 marks)
1 long essay (30 marks).

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DRAFT SPECIFICATION

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A-level History of Art DRAFT 7257. A-level exams June 2019 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. Visual Analysis
2. Thematic Study of World Art and Architecture
3. 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 students 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 (Paper
1) of the examination.
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Architectural elements
Colour
Composition
Light
Line
Pattern
Scale
Shape
Space
Volume and mass

Students must understand and be able to apply their knowledge of how these formal
characteristics or elements of style can be manipulated to achieve specific intentions (eg mood,
meaning, emotion). They must also be able to explain how these elements can be influenced by:
• Functions
• materials, techniques and processes.
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3.2 Thematic study
Two Themes must be selected from the four options:
1.
2.

3.
4.

Nature in Art
Identities in Art
War in Art
Journeys in 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 specific works of art have been listed where the name
of the artist is unknown.)
• One selected specified artist must have produced work before 1850 and one must have
produced work after 1850.
• The third specified artist may have produced work either side of 1850.
• 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 35)).
• 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 35)).

• Students must also explore their selected theme in relation to theoretical writings in relevant
primary or secondary critical text/s. These texts must serve as a springboard for discussion and
debate across elements of the theme. The choice of text/s are at the discretion of the teacher
and/or student.
All students must develop the ability to apply their knowledge and understanding in evidenced,
structured arguments across 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
• 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

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DRAFT SPECIFICATION

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 coverage for each theme. Students must
study work across at least three types of art.


A-level History of Art DRAFT 7257. A-level exams June 2019 onwards. Version 0.1 2 June 2016

• the ways in which art has been used and interpreted by past and present societies including the
influences of prior art movements/periods, critical texts, exhibition/gallery and curatorship
choices.

3.2.1 Nature in Art
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.

DRAFT SPECIFICATION

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 required art-historical investigations for this theme which will be
assessed in Paper 1, 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 terminology for 2D, 3D and
architecture
• Formal characteristics and their effects or
contributions to meaning
• Concepts: the sublime, pastoral, topographical and
land art
• Biomorphic, zoomorphic and organic architecture

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

• Subjects: development and changing ideas of the
land/seascape genre in 2D
• Land/earth art in 3D
• Representation and meanings of animals and the
elements in art in 2D and 3D
• Changing relationship between wo/man and nature
(both destructive and constructive)
• Style: architecture influenced by nature (eg
biomorphic, organic)
• Contribution and influences of specified and other
artists
• Subjects and styles of artworks 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 • Use of natural materials in 3D and architectural work
and processes and their contribution
• Significance of environment or setting in 3D and
to changes in art
architecture
• 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

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•
•
•

Function in 2D, 3D and architecture
Significance of patronage
Significance of display/exhibition/location choices
Readings and debates offered by at least one critical
text
• Use and interpretation of art works and architecture
from beyond the European tradition
• Changing relationship between wo/man and nature
(both destructive and constructive)

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, individuals, groups and of communities or nations in
2D, 3D and architecture 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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•
•
•

Benin bronze plaques (1550‒1650)
Rembrandt (1606‒1669)
Christopher Wren (1632‒1723)
Vincent van Gogh (1853‒1890)
Frida Kahlo (1907‒1954)
Chris Ofili (b.1968)

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 theme which will be assessed in
Paper 1, 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

A-level History of Art DRAFT 7257. A-level exams June 2019 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

• Subjects: 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 in architecture
• Style: 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
• Identity of environment in 2D, 3D and architecture
• 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
Significance of display/exhibition choices
Readings and debates offered by at least one
critical text
• Use and interpretation from beyond the European
tradition
• Changing relationship between individual and
society or community

3.2.3 War in Art
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

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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 the choice of
specified artists. At least one work needs to be from before 1850 and at least one from after 1850.
•
•
•
•
•
•

‘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)

The following table details the art-historical investigations for this theme which will be assessed in
Paper 1, 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

• Relevant terminology for 2D, 3D and architecture
• Formal characteristics 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 3D or
2D
• Styles: defensive and commemorative architecture
• Contribution and influences of specified and other
artists
• Subjects and styles of 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

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


DRAFT SPECIFICATION

A-level History of Art DRAFT 7257. A-level exams June 2019 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 location in 3D and architecture
• 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 • Function in 2D, 3D and architecture
interpreted by past and present
• Significance of patronage
societies
• Significance of display/exhibition choices where
appropriate
• Relevant readings and debates offered by at least one
critical text
• Use and interpretation from beyond the European
tradition
• Changing attitudes towards war amongst artists,
patrons and audiences

3.2.4 Journeys in Art
Prompted by pilgrimage, war, discovery, trade or escape, this theme explores the responses to
spiritual, physical and psychological journeys undertaken by art and artists and their impact on
subsequent works of art and 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 the choice of
specified artists. At least one work needs to be from before 1850 and at least one work from after
1850.
•
•
•
•
•
•

Phidias (490‒430BC)

Albrecht Dürer (1471‒1528)
Mimar Sinan (1490‒1588)
Daniel Libeskind (b1946)
Ai Wei Wei (b1957)
Sonia Boyce (b1962)

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 theme which will be assessed in
Paper 1, Section B. Students must use their knowledge and understanding to develop evidenced,
structured arguments and demonstrate their critical judgement.

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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
• Concepts of different journeys: pilgrimage, trade,
conquest, escape and discovery
• Pilgrimage, religious and hybrid architecture

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

• Subjects: representation of spiritual, physical and

psychological journeys or lessons learnt from
journeys in 2D and 3D
• Impact of 2D or 3D art arriving in new destinations
on subsequent artists and artworks
• Styles: pilgrimage, religious and hybrid forms of
architecture reflecting cultural exchange
• Contribution and influences of specified and other
artists
• Subjects and styles of artworks from beyond the
European tradition

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

• Impact of the identity, status and experiences of
artist
• Significance of and relationship to places travelled
• Significance of events, date, outcome/s of journeys
reflected 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

• Relationship between materials and message in
3D work
• Significance of location in 3D and architecture

• 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
• Significance of display/exhibition choices where
appropriate
• Relevant readings and debates offered by at least
one critical text
• Use and interpretation from beyond the European
tradition
• Changing attitudes towards journeys amongst
artists, patrons and audiences

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DRAFT SPECIFICATION

Investigation


A-level History of Art DRAFT 7257. A-level exams June 2019 onwards. Version 0.1 2 June 2016

3.3 Period study
Two Periods must be selected from the following five options:

1.
2.
3.
4.
5.

Invention and illusion: The Renaissance in Italy (1420‒1520)
Power and persuasion: The Baroque in Catholic Europe (1597‒1685)
Rebellion and revival: The Avant-Garde in Britain and France (1848‒1899)
Brave new world: Modernism in Europe (1900‒1939)
Pop life: Contemporary art and architecture in Britain and the USA (1960‒2015)

DRAFT SPECIFICATION

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 topic coverage is outlined below and students must study at least a further four works
in order to build extensive knowledge and understanding for the compulsory questions on Paper
2.
• 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.
• Selection of three works for each specified artist and the additional 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 cover three types
of art, 2D, 3D and architecture (see Appendix 1: Definitions (page 35)).
• All works must be in the public domain and easily accessible to examiners.
• Students must also explore their selected theme in relation to theoretical writings in relevant

primary or secondary critical text/s. These texts must serve as a springboard for discussion and
debate across elements of the period. The choice of text/s are at the discretion of the teacher
and/or student.
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 including
the influences of prior art movements/periods, critical texts, exhibition/gallery and curatorship
choices.

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 can explore the cultural
contexts of the Renaissance through the work of Donatello, Brunelleschi, Bellini and Michelangelo,
amongst others.

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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.
This option covers the work produced across the three Italian city-states of Venice, Florence and

Rome. Teachers should select works which fall clearly within the period 1420‒1520.
Students must research in detail at least three works by each of two artists from the choice of
specified artists given for each theme.
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 area of study which will be
assessed in Paper 2. 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, Neo-Platonism.

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.
• Movements: influence of earlier movements/styles,
including Flemish style on Venetian art.
• 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 (Savonarola, the
Popes) development of printing.

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DRAFT SPECIFICATION

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•
•
•
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DRAFT SPECIFICATION

A-level History of Art DRAFT 7257. A-level exams June 2019 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 (may also include terracotta).
• 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).
• Significance of display/exhibition and curatorship
choices.
• Readings and debates offered by at least one relevant
critical text.

• Use and interpretation of artworks by societies and
audiences.

3.3.2 Power and persuasion: The Baroque in Catholic Europe (1597–
1685 )
In this module, students investigate the religious controversy and challenges to the power and
boundaries of European states, and the solutions offered by art and architecture, in the
seventeenth century.
This module offers an in-depth study of the art and architecture of the Italian States, France, Spain
and the Spanish Netherlands. Students will explore the impact of religious, historical and
philosophical factors on art and its audiences of monarchs, nobility, individuals and groups across
the region.
Students must research in detail at least three works by each of two artists from the choice of
specified artists in line with the investigations outlined below.
•
•
•
•
•

Caravaggio (1571‒1610) only works produced in or after 1597
Gian Lorenzo Bernini (1598‒1680)
Artemisia Gentileschi (1593‒1652)
Peter Paul Rubens (1577‒1640)
Diego Velázquez (1599‒1660)

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
Paper 2. 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: The Baroque, Mannerism, Absolute
Monarchy, Counter-Reformation, Protestantism;
Jesuit.

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

• Subjects: religious; mythological (including
classical); portraits (in 2D and 3D); landscape
painting; presentation of meanings, power and
identity – different challenges and solutions across
the different countries.
• Styles: origins, aims, characteristics, developments
and variations of ‘Baroque’ style across the century
and countries.
• Specified and other artists: identity, training,
artworks, contributions, influences.
• Movements: influence of earlier movements/styles,

including classical, Renaissance and Mannerism.
• Architecture: religious and secular buildings in at
least two countries.

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

• Cultural/social: influence and impact of The Council
of Trent and Counter-Reformation; expansion of the
new orders of the Catholic church.
• Political: events and impact of the Thirty Years War
and other significant national and international
events on art.
• Technological: the impact of relevant developments
in science, philosophy and psychology.

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

• Working methods, choices and significance of use
of marbles, wood, bronze, polychromy in sculpture
and architecture.
• Technical methods and approaches (and
differences) across Catholic Europe and their
significance in sculpture and architecture.

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

interpreted by past and present societies • Significance of patronage, role and impact of Court
Painters.
• Significance of display/exhibition and curatorship
choices: significance of French Academy and other
training routes to art and artists.
• Readings and debates offered by at least one
relevant critical text.
• Use and interpretation of artworks by societies and
audiences.

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DRAFT SPECIFICATION

Investigation


A-level History of Art DRAFT 7257. A-level exams June 2019 onwards. Version 0.1 2 June 2016

3.3.3 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.

DRAFT SPECIFICATION

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 the choice of
specified artists as outlined in the investigations below.
•
•
•
•
•

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 area of study which will be
assessed in Paper 2. 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 characteristics 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 and other artists: identity, training,
artworks, contributions, influences.
• Movements: influence of earlier movements/styles,
particularly Neo-Classical and Romanticism,
significance of Japonisme.
• Architecture: religious and secular buildings; public
and private buildings in England and France; Art
Nouveau and Arts and Crafts styles.

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Period coverage

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, 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.
• Changing role of the Salon/RA and rise of new
display/exhibition options; significance of critics and
the media.

• Readings and debates offered by at least one
relevant critical text.
• Use and interpretation of artworks by societies and
audiences.

3.3.4 Brave new world: Modernism in Europe (1900–1939 )
In the early years of the twentieth century, an extraordinary optimism fuelled the beginnings of the
urban, machine age, and artists responded with startling ideas which challenged many of the longestablished conventions in art and architecture. Gradually this optimism gave way to the horrific
events of the two World Wars. The creative work of artists demonstrate a fascinating response to
profound questions about what art is, who art is produced for and the personal and political
functions it could fulfil.
This option has been designed to offer an in-depth investigation into Art and Architecture across
Britain, France, Spain, Germany, Italy and the Netherlands and the development of art and artists
from these countries across from the period of the 1900 International Exhibition in Paris to the
outbreak of World War II in 1939.
Students must research in detail at least three works by each of two artists from the choice of
specified artists as outlined in the investigations below.
• Henri Matisse (1869‒1954) only works produced from 1900‒1939
• Paula Modersohn-Becker (1876‒1907)
• Jacob Epstein (1880‒1959) only works produced from 1900‒1939

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DRAFT SPECIFICATION

Investigation


A-level History of Art DRAFT 7257. A-level exams June 2019 onwards. Version 0.1 2 June 2016

• Pablo Picasso (1881‒1973) only works produced from 1900‒1939
• Le Corbusier (1887‒1965) only works produced from 1900‒1939
Further works by other influential artists must also be studied in order to cover all the required
learning outlined below.

DRAFT SPECIFICATION

The following table details the art-historical investigations for this period which will be assessed in
Paper 2. 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: found objects, avant-garde.

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

• Subjects: the use of landscape, portraiture, still life
and everyday life for traditional purposes and for
artistic experimentation; the challenge to the
hierarchy of genres and the impact of these
choices; modern urban life, war and conflict; the
nude/human figure; abstract/non-objective art.

• Styles: origins, aims, characteristics, developments
and variations of Fauvism, Cubism, German
Expressionism, Futurism, Dada, Surrealism and
Unit One.
• Specified and other artists: identity, training,
artworks, contributions, influences.
• Movements: influence of earlier movements/styles,
particularly the Post-Impressionists, impact of
‘Primitive’/Non-Western works.
• Architecture: public (including corporate
commissions) and private buildings in at least two
countries; Expressionist, Modernist styles.

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

• Cultural/social: influence and impact of literary,
philosophical and psychological ideas: eg: Bergson,
Freud, Einstein.
• Political: events and artistic impact of World War
One; revolutions and protests in Italy, Germany and
the Spanish Civil War and the Russian Revolution
as far as it impacts on European art and artists.
• Technological: impact of new developments in
industry, photography, film, science, transportation
and technology.

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