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The guide explains how to build debates using formal analysis and ethical, contextual, social, cultural, and political perspectives, with requirements for pre-1850 and post-1850 examples across multiple categories and world traditions, including museum education and critical texts.",{"@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-b3-war-in-art-and-architecture-a-level-history-of-art/624202/",{"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-b3-war-in-art-and-architecture-a-level-history-of-art/624202.png","ImageObject",300,407,{"name":92,"@type":93},"OmBimo","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-30","2026-10-20",true,{"@type":102,"interactionType":103,"userInteractionCount":29},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"What skills and outcomes does the B3 course aim to develop?","Question",{"text":112,"@type":113},"Students discuss and explore artistic, contextual, ethical, and social issues linked to war, using formal analysis and developments in materials, techniques, and processes. They also build debates by evaluating arguments of relevant critics and integrating links between works and their production context.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"How should students select their specified painter, sculptor, and architect?",{"text":117,"@type":113},"Students select one specified painter, one sculptor, and one architect from the given lists, ensuring at least one produced work pre-1850 and at least one produced work post-1850. They then choose at least two relevant works per selected artist, without repeating works used in other themes or periods.",{"name":119,"@type":110,"acceptedAnswer":120},"What minimum scope is required for the categories of key works in B3?",{"text":121,"@type":113},"The guide requires at least one work pre-1850 and one work post-1850 in each category, covering themes such as war or revolution in 2D, leaders and participants in 2D/3D, places affected by war, memorials, and defensive or commemorative architectural works.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},624202,1792568177,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":19,"category_name":20,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":29,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":144,"read_time":145},962090893581,"https://ap-avatar.wpscdn.com/davatar_276721f389ce27ea32af1340a28f341c","Topic Guide B3: War in art  \nand architecture  \nA level History of Art  \nPearson Edexcel Level 3 Advanced GCE in History of Art (9HT0)  \nGCE History of Art 2022 – Topic Guide B3: War in art and architecture   \n(This guide has been updated for September 2022. The specification remains the definitive source of information for this qualification.)  \nContents  \nCourse outcomes 2  \nSelecting your key works for study 3  \nAssessment 7  \nSome questions about War in art and architecture 8  \nCritical texts to support Theme study 11  \nResources for B3: War in art and architecture 12  \nFirst hand learning and museum education 12  \nB3: War in art and architecture: sample key works 14  \nBlank grid for your completion 15  \nWar: a longer list of possible works 16  \nCourse outcomes   \n● Students will be able to discuss and explore the artistic, contextual, ethical and social issues raised by artists and architects’ involvement with the narratives of war, with reference to specific examples.  \n● They will examine these works of art and architecture in their own right, by means of formal analysis, a detailed exploration of the relevant developmentsin materials, techniques and processes and the stylistic influences appropriate in each case.  \n● Students will also explore the conceptual links between the works and the context of their production by exploring the cultural, social, technological and political factors at play.  \n● This understanding will be further developed by consideration of the use, meaning and impact of these artworks both in their era of production and in subsequent eras. 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 proximity to, or experience of, war.  \n● Students will be expected to build coherent debates around the key issues of War 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 wars in different parts of the globe across different eras and all students must explore the full Scope of works (as listed on page 15 of the specification) with specific examples both before and after 1850 and within and beyond the European tradition.  \nSelecting your key works for study   \n1 First, select your specified painter (Delacroix, Goya, Picasso or Dix), sculptor (Canova, Moore, Holzer or Deller) and architect (de Mondion, Schinkel, Lutyens or Libeskind) . 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 – 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 War 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) War or Revolution in 2D works  \n(b) Leaders in 2D or 3D works  \n(c) Participants in 2D or 3D works  \n(d) Places affected by war in 2D or 3D works  \n(e) Memorials in 2D or 3D works  \n(f) Defensive or commemorative architectural works  \nAll three Themes have the same number of categories and require the same minimum number of","cbCaieUoerqxWb94","https://ap.wps.com/l/cbCaieUoerqxWb94","pdf",325001,22,"English","# Course outcomes\n# Selecting your key works for study\n# Assessment\n# Some questions about War in art and architecture\n# Critical texts to support Theme study\n# Resources for B3: War in art and architecture\n## First hand learning and museum education\n## B3: War in art and architecture: sample key works\n## War: a longer list of possible works","[{\"question\":\"What skills and outcomes does the B3 course aim to develop?\",\"answer\":\"Students discuss and explore artistic, contextual, ethical, and social issues linked to war, using formal analysis and developments in materials, techniques, and processes. They also build debates by evaluating arguments of relevant critics and integrating links between works and their production context.\"},{\"question\":\"How should students select their specified painter, sculptor, and architect?\",\"answer\":\"Students select one specified painter, one sculptor, and one architect from the given lists, ensuring at least one produced work pre-1850 and at least one produced work post-1850. They then choose at least two relevant works per selected artist, without repeating works used in other themes or periods.\"},{\"question\":\"What minimum scope is required for the categories of key works in B3?\",\"answer\":\"The guide requires at least one work pre-1850 and one work post-1850 in each category, covering themes such as war or revolution in 2D, leaders and participants in 2D/3D, places affected by war, memorials, and defensive or commemorative architectural works.\"}]","Topic Guide B3 - War in art and architecture - A level History of Art | PDF",1792473117,55]