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Students study how artists and architects engage with identities of the self, other, community or society, using formal analysis and exploring cultural, social, technological and political factors. Learners build debates using named critics and develop detailed knowledge of specified artists, with examples before and after 1850 and both within and beyond European traditions.",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":20,"@type":76,"position":81},"https://docshare.wps.com/document/exam/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/topic-guide-b2-identities-in-art-and-architecture-a-level-history-of-art/624203/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/topic-guide-b2-identities-in-art-and-architecture-a-level-history-of-art/624203.png","ImageObject",300,407,{"name":92,"@type":93},"OmBimo","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-31","2026-10-20",true,{"@type":102,"interactionType":103,"userInteractionCount":24},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"What does the B2 course require students to be able to do?","Question",{"text":112,"@type":113},"Students must discuss and explore artistic, contextual, ethical and social issues tied to identities, using specific examples. They also need to analyse works formally and develop coherent debates integrating and evaluating named critics.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"How should students select key works for study?",{"text":117,"@type":113},"Students choose specified painter, sculptor and architect from given lists, ensuring at least one produces work before 1850 and one after 1850. They then select two relevant works per chosen artist and populate a Scope of works grid without repeating works used in other themes.",{"name":119,"@type":110,"acceptedAnswer":120},"What categories and time periods must be covered in the Scope of works grid?",{"text":121,"@type":113},"The grid requires at least one pre-1850 work and one post-1850 work in each category: the divine (2D/3D), portraits (2D and 3D), gender identity (2D/3D), ethnic identity (2D/3D), and identity in architecture. 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Students will need to consider location and display as well asthe motives and impacts of their commissioning (where appropriate) .  \n● Students will need to have detailed knowledge of one specified painter, sculptor and architect. This knowledge should span at least two relevant works and consider the artist’s personal experience of the issues, challenges and opportunities of identity.  \n● Students will be expected to build coherent debates around the key issues of Identities in art and architecture and to integrate and evaluate the arguments of named critics relevant to the topic and/or their selected specified artists.  \n● This study is expected to span different parts of the globe across different eras and all students must explore the full Scope of works (as listed on page  \n13 of the specification) with specific examples both before and after 1850 and within and beyond the European tradition.  \nB2: Identities in art and architecture  \nSelecting your key works for study   \n1 First, select your specified painter (Van Eyck, Rembrandt, Vigée le Brun or Van Gogh), sculptor (Houdon, Perry, Shonibare or Quinn) and architect (Inigo Jones, Wren, Rogers or Hadid) . Make sure one has produced work pre 1850 and one post 1850. The third may have produced work at any time. (Once you have selected your key artists from these lists, you are not obliged to include any works by the others, although you may choose to do so if you wish.)  \n2 For each of these, you will need to find two relevant works (and may not repeat any work used in any other Theme or Period) . You will also need to source at least one critical text for the whole Theme or – and this may be easier  \n– one critical text for each of your selected specified artists, or indeed for individual works. You will find it useful to look at the Scope of works grid to make the most effective decisions on key works.  \n3 Put these works into your Scope of works grid (exemplar and blank grid attached at the end of this document.)  \n4 For the study of Identities in art and architecture, you must have at least one work pre 1850 and one work post 1850 in each of the following categories:  \n(a) The divine in 2D or 3D works  \n(b) Portraits in 2D works  \n(c) Portraits in 3D works  \n(d) Gender identity in 2D or 3D works  \n(e) Ethnic identity in 2D or 3D works ","cbCainJ9L6ABdCYv","https://ap.wps.com/l/cbCainJ9L6ABdCYv","pdf",319046,21,"English","# Course outcomes\n## Selecting your key works for study\n## Some questions about Identities in art and architecture\n## Critical texts to support Theme study\n## Resources for B2: Identities in art and architecture\n## First hand learning and museum education\n## B2: Identities in art and architecture: sample key works\n## Identities: a longer list of possible works\n## GCE History of Art 2022 - Specified artists and sample categories","[{\"question\":\"What does the B2 course require students to be able to do?\",\"answer\":\"Students must discuss and explore artistic, contextual, ethical and social issues tied to identities, using specific examples. They also need to analyse works formally and develop coherent debates integrating and evaluating named critics.\"},{\"question\":\"How should students select key works for study?\",\"answer\":\"Students choose specified painter, sculptor and architect from given lists, ensuring at least one produces work before 1850 and one after 1850. They then select two relevant works per chosen artist and populate a Scope of works grid without repeating works used in other themes.\"},{\"question\":\"What categories and time periods must be covered in the Scope of works grid?\",\"answer\":\"The grid requires at least one pre-1850 work and one post-1850 work in each category: the divine (2D/3D), portraits (2D and 3D), gender identity (2D/3D), ethnic identity (2D/3D), and identity in architecture. Students also add examples beyond the European tradition as required.\"}]","Topic Guide B2 - Identities in art and architecture - A level History of Art | PDF",1792473118,53]