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Getting StartedGuideA level History of ArtPearson Edexcel Level 3 Advanced GCE in History of Art (9HT0)
GCE History of Art 2017Getting Started GuideContents1 Introduction2 What’s changed?2.1 How has A Level changed?2.2 Changes to the Pearson Edexcel History of Art specification24453 Content guidance73.1 Visual Analysis3.2 Themes3.3 Periods78124 Planning4.14.24.34.4Two-year calendarOutline Schemes of Work for Theme studyPossible allocation of weekly class time for Theme studyOutline Schemes of Work for Period study1818202124
GCE History of Art 20171 IntroductionResearch and key principlesThe specification has been developed in consultation with the teaching community,higher education, subject associations and museums and galleries. Teachers andsubject experts from a range of schools, colleges and institutions – in focus groups,phone interviews and face-to-face conversations – have provided feedback at eachstage and have helped us shape the specification. Academics and curators havehelped us understand how to build on the strengths of the legacy specification andadvised on how progression to undergraduate study and application to workenvironments could be improved.Drawing on feedback from all parts of the Art History education community, the2017 specification has been built on the following principles:A balance of coherence and choice – With the move from modular to linearqualifications, there is a greater focus on coherence within courses. The newspecification combines visual analysis and broad thematic topics in Paper 1 with arange of choices for in-depth study of selected periods in Paper 2. This allowsteachers and students to establish an effective breadth of understanding suitablefor their first experience of Art History study together with the opportunity todevelop greater knowledge of the art and architecture of two key eras.A sustained emphasis on core skills – Visual literacy, analysis, interpretationand informed debate remain central to the teaching and assessment of the subject.Acknowledging stakeholder concerns about the limitations of questions in thelegacy specification, a greater range of question types has been introduced to suit arange of learners and the practical implications of 3-hour examinations. Shorterinitial questions are balanced by longer essays at the end of each Period option inPaper 2 which invite students to explore and evaluate a debate.Appropriate range and variety – Options are available from War, Identities andNature as global thematic topics, with required study from both before and after1850 in each of six categories of study. This gives students the opportunity toexplore relevant works across time and place, identifying and discussing changeand continuity in aesthetic, technical, functional and cultural issues. There are fiveoptions for in-depth Period study, allowing teachers to select two which best matchthe art and architecture available in their region for first-hand study, their ownexpertise or the interests of their students.Clearly outlined course coverage – Acknowledging concerns about the clarity ofrequired areas of study in the legacy specification, the new specification sets outclear guidance for both the Scope of works and Key topics for study in eachTheme and Period. Shortlists of specified artists are provided for each Theme andPeriod, together with shortlists for the required study of works from ‘beyond theEuropean tradition’ in each Theme.Clear mark schemes – The new mark schemes have clear descriptors for eachlevel and Assessment Objective and are worded to reflect how teachers andexaminers describe the qualities of student work, so that the expectations are clearfor markers and for teachers.2 Pearson Education Ltd 2017
Getting Started GuideSupport for the new specificationThis Getting Started guide provides an overview of the new A Level specification,to help you get to grips with the changes to content and assessment, and to helpyou understand what these changes mean for you and your students.We will be providing a package of support to help you plan and implement the newspecification: Planning – In addition to the Planning section in this guide, we will beproviding a course planner outlining different approaches, plus a scheme ofwork for every topic that you can adapt to suit your department. Topic guides – For each topic, we will provide an overview with key questions,a longer list of suitable options for the selection of key works, and initialsuggestions for useful resources for teachers which could be used to providesupport for the specification. Example student work for each component with examiner commentaries.These support documents will be made available on the A Level 2017 History of Artpages of the Edexcel website.Subject advisor supportOur subject advisor service will ensure you receive help and guidance when youneed it. You can sign up to receive e-updates to keep you up to date withqualification news, as well as information about support and resources for teachingand learning.You can contact our subject advisor in a number of ways: Through our website ns/edexcel-a-levels/history-ofart-2017.html by email: teachingartanddesign@pearson.com by telephone: 020 7010 2181 Twitter: @Pearson ArtLearn more at qualifcations.pearson.com Pearson Education Ltd 20173
GCE History of Art 20172 What’s changed?2.1 How has A Level changed?Changes to the A Level qualificationsThe new A Level course will be a linear qualification. This means that both A Levelexaminations must be sat in the same examination period – normally at the end ofa two-year course.Changes to the History of Art subject criteriaThe subject content requirements for A Level History of Art have been revised forfirst teaching in September 2017. The full subject content document can be foundon the website of the Department for Education, but the list below highlights thekey requirements.All A Level specifications must require students to study: appropriate terminology, visual language and concepts to communicateknowledge, understanding and interpretation of formal features and theireffects or intentions knowledge and understanding of developments in art and connections betweenmovements/periods in the context of specified Themes, including at least twoworks by three specified artists knowledge and understanding of artists and works of art representative of twospecific Periods, including at least three works by two specified artists works representing the different types of art (painting/2D, sculpture/3D andarchitecture) at least one critical text relevant to each Theme/Period, artist and/or workstudied impact and influence of curatorship, setting and environment, both original andsubsequent, to the overall impression of works of art.The main changes of these revised criteria are the introduction of new Themes, theintroduction of specified artists in each area of study and the formalisation of therequirement to explore and use critical texts. The key topics of study (subjectmatter; style and formal features; social and cultural context; materials, techniquesand processes; training and status of the artist, and the functions of art) remainbroadly unchanged.Changes to the Assessment ObjectivesThe new A Level History of Art Assessment Objectives have also been revised.There are now three objectives, with the former AO4 integrated into the new AO3.AO1Demonstrate knowledge and understanding of the contexts of art30–40%AO2Analyse and interpret artists’ work, demonstrating understanding ofvisual language30–40%AO3Make critical judgements about art through substantiated reasonedargument30–40%4 Pearson Education Ltd 2017
Getting Started Guide2.2 Changes to the Pearson Edexcel History of ArtspecificationSpecification overviewFrom September 2017, there will be no Pearson Edexcel AS History of Artqualification. The table below provides a structural overview of the new A Levelspecification. There is no coursework element. Each examination is 3 hours long.A LevelPaper 1 (50%)(3 hours)( 1 hour on each section)Paper 2 (50%)(3 hours)( 1.5 hours on eachsection)Visual Analysis16%Theme 117%Theme 217%Period 125%Period 225%Works of art studied for one Theme or Period may not be studied for a secondTheme or Period, although different works of art by the same artist may beexplored across different Themes or Periods.Key changes to note in the overall structure are as follows: In the legacy AQA specification, Visual Analysis accounted for 20% of the fullA Level; that has been reduced to 16% of the new Pearson Edexcelqualification. However, the time allowed for students to explore and interpretthe works has been left unchanged at 20 minutes per work. Themes accounted for 30% of the full A Level in the legacy specification, andthat has been extended to 34% in the new qualification to reflect the extensioninto two specific Theme areas which each include a broad spread of art andarchitecture. The Period weighting remains unchanged. Pearson Education Ltd 20175
GCE History of Art 2017Summary of changes to assessmentThe table below provides an overview of the assessment in the legacy AQAspecification and the assessment in the new Pearson Edexcel 2017 specification.Legacy AQA specification2017 specificationHART 1 Visual AnalysisPaper 1, Section A Visual AnalysisThree compulsory questions:Three compulsory questions: ‘unseen’ painting ‘unseen’ painting ‘unseen’ sculpture ‘unseen’ sculpture ‘unseen’ architecture. ‘unseen’ architecture.HART 2 ThemesPaper 1, Section B ThemesThree 30-minute essays, each exploringtwo works from a choice of six questions.Two Themes selected.All questions are compulsory.On each Theme: one extended response, exploring twoworks one essay response, exploring worksand critical text/s.HART 3 Historical Investigation 1Paper 2, PeriodsTwo 45-minute essays, each exploringthree works from a choice of fourquestions.Two Periods selected.All questions are compulsory.On each Period: two short questions, each exploringone aspect of one work one extended response, exploring (atleast) two works one long essay response, exploringworks and critical text/s.HART 4 Historical Investigation 2Paper 2, PeriodsTwo 45-minute essays, each exploringthree works.As above.Included in the same 3-hour examination.Visual Analysis is only assessed with AO2 and AO3. Students are not expected, norrewarded, for knowledge about the contexts of art in these questions as this is the‘unseen’ element.All questions on the Theme sections are assessed across all three AssessmentObjectives.The first two short questions on the Period sections are assessed only on AO1 andAO2 as critical judgement through substantiated reasoned argument is notexpected here.The two longer questions on the Period sections are assessed across all threeAssessment Objectives.6 Pearson Education Ltd 2017
Getting Started Guide3 Content guidanceThis A Level is comprised of five modules. All students must answer Paper 1Section A on Visual Analysis. Teachers then select two of the three Theme optionsfor study and two of the five Period options.Details of the expectations and requirements for Visual Analysis are laid out clearlyin the specification (pages 7–8).Clarification of the scope of works and key topics required for study in each Themeand each Period is clearly laid out in the specification (pages 9–15 andpages 16–31).3.1 Visual AnalysisNo prior study of Art History is expected for students taking this course. Therefore,an initial module of study to introduce students to the language, concepts andelements of visual analysis, types of art and formal features will be required beforedetailed work on any Theme or Period can begin.In painting – Students will need to understand how visual language is used byartists to communicate ideas. This will need to span the knowledge andunderstanding of formal features, the genres and subject matters of paintings aswell as the relevant aspects of materials and techniques used. It is recommendedthat students look at and discuss a wide range of works of different subjects andfrom different eras in preparation for this element of the course. In theexamination, only works from the Western European tradition of art andarchitecture will be selected for assessment, but this does not preclude teachersfrom integrating works from beyond this tradition at this stage. It will certainly beuseful for later study of the selected Theme and the works may excite students bytheir variety and innovation.In sculpture – Again, students will need to know and understand how 3D worksare made and the implications of different material choices. Consolidation ofknowledge and understanding of visual language, including the manipulation offormal features and the links to meaning are vital. Students will need to look at awide variety of sculptural work in different mediums and in both relief and theround. Subject matter should be explored as well as the significance of titles andsetting in the effect or impact of the work. Works by specified artists will not beincluded in questions on the ‘unseen’ questions, but teachers may find using worksby these artists a useful way to encourage looking and the development of visualmemory, language and articulation as well as increasing student confidence for thePeriod options.In architecture – Teachers need to introduce their students to the forms andmeanings embraced by Classical, Gothic and Modern architectural terms and toexplore these across a wide variety of examples from 500 BCE to the modern day.These should cover a variety of functions and locations, so that students are able todraw connections between aesthetic choices, practical and symbolic functions andmeaning and interpretation as well as understanding core conventions. Pearson Education Ltd 20177
GCE History of Art 20173.2 ThemesDetails of the scope of works for study and the required learning of key topics areclearly set out in the specification on pages 9–15.Two Themes must be selected from the three options: B1 Nature in art and architecture B2 Identities in art and architecture B3 War in art and architectureTeachers are free to select their own choices of works, providing that the requirednumbers of works by specified artists and of art from beyond the ‘WesternEuropean tradition’ are met. Teachers and students may choose to study more thanone example in any category in order to build a stronger debate or more coherentunderstanding. However, students must be prepared to answer on at least oneexample of each category in the final examination and are reminded that allquestions on the papers are compulsory, so all elements of the course must betaught.8 Pearson Education Ltd 2017
Getting Started GuideB1: Nature in art and architecture At least two works by each of three specified artists (one in 2D, one in 3D andone building) with at least one having produced works before 1850 and at leastone having produced works after 1850. At least one critical text, either relevant to the whole theme and all specifiedartists, or at least one critical text (or extract from) for each specified artist. At least three works from beyond the ‘European tradition’ (one in 2D, one in3D and one building). At least three further works must be explored. Overlap rules (no single work ofart may be studied for more than one Theme or Period) must always berespected.This is a sample selection of works only. Teachers may wish to reuse their keyworks and resources previously used for the legacy specification where appropriate,or to select alternative works of art from their region that allow students toenhance their classroom learning with first-hand experience of works in museumsand galleries. Longer lists of suitable works are given in the topic guides.Scope of worksPre-1850Post-1850Landscape orseascape in 2DJMW Turner Shipping at theMouth of the Thames (Tate)Georgia O’Keeffe Ram’s Head,Little Hollyhock and White HillsAnimals in 2D or 3DDouble-headed serpent(British Museum)Barry Flanagan Leaping Hare(Southampton City Art Gallery)George Stubbs Whistlejacket(National Gallery)Barry Flanagan Bronze Horse(Jesus College, Cambridge)Plants in 2D or 3DWen Zhengming Wintry Trees(British Museum)Andy Goldsworthy HangingTrees (Yorkshire Sculpture Park)The elements in 2D or3D (water, wind, fire,earth)Hokusai The Great Wave(British Museum)Richard Long Waterlines (Tate)Relationship betweenwo/man and nature in2D or 3DJMW Turner Rain, Steam andSpeed (National Gallery)Agnes Denes Wheatfield – Aconfrontation (Manhattan)Architectural worksinfluenced by natureAngkor Wat, CambodiaSantiago Calatrava World TradeCentre Transportation Hub, NewYorkSantiago Calatrava BodgesaYsios Winery Pearson Education Ltd 20179
GCE History of Art 2017B2: Identities in art and architecture At least two works by each of three specified artists (one in 2D, one in 3D andone building) with at least one having produced works before 1850 and at leastone having produced works after 1850. At least one critical text, either relevant to the whole theme and all specifiedartists, or at least one critical text (or extract from) for each specified artist. At least three works from beyond the ‘European tradition’ (one in 2D, one in3D and one building). At least three further works must be explored. Overlap rules (no single work ofart may be studied for more than one Theme or Period) must always berespected.This is a sample selection of works only. Teachers may wish to reuse their keyworks and resources previously used for the legacy specification where appropriate,or to select alternative works of art from their region that allow students toenhance their classroom learning with first-hand experience of works in museumsand galleries. Longer lists of suitable works are given in the topic guides.Scope of worksPre-1850Post-1850The Divine* in 2D or3DThe Sultanganj Buddha(Birmingham)FN de Souza Crucifixion (Tate)Rembrandt Raising of the CrossPortraits in 2DRembrandt Self Portrait(National Gallery)Kahlo Self Portrait along theBorderlinePortraits in 3DAugustus of Prima PortaGrayson Perry Self Portraitwith Eyes Poked OutGender identity in 2Dor 3DTitian Venus of UrbinoGrayson Perry Claire’s ComingOut DressEthnic identity in 2Dor 3DBenoist Portrait of a NegressOfili No Woman No Cry (Tate)ArchitectureSinan Suleymaniye MosqueHadid Heydar Aliyev CentreHadid Bridge Pavilion,Zaragoza*God, gods, goddesses or the Son of God. The Virgin Mary, earth-born saints and/orprophets are not included in ‘the Divine’.10 Pearson Education Ltd 2017
Getting Started GuideB3: War in art and architecture At least two works by each of three specified artists (one in 2D, one in 3D andone building) with at least one having produced works before 1850 and at leastone having produced works after 1850. At least one critical text, either relevant to the whole theme and all specifiedartists, or at least one critical text (or extract from) for each specified artist. At least three works from beyond the ‘European tradition’ (one in 2D, one in3D and one building). At least three further works must be explored. Overlap rules (no single work ofart may be studied for more than one Theme or Period must always berespected.)This is a sample selection of works only. Teachers may wish to reuse their keyworks and resources previously used for the legacy specification where appropriate,or to select alternative works of art from their region that allow students toenhance their classroom learning with first-hand experience of works in museumsand galleries. Longer lists of suitable works are given in the topic guides.Scope of worksPre-1850Post-1850War or revolution in2DGoya What Courage, TheDisasters of WarPicasso GuernicaGoya Third of May 1808Leaders in 2D or 3DDavid Napoleon crossing theAlpsBertelli MussoliniParticipants in 2D or3DKneeling Archer, TerracottaArmyDeller We are here because weare herePlaces affected bywar in 2D or 3DNight Attack on the SanjoPalaceDeller Baghdad/It is what it isMemorials in 2D or3DTrajan’s Column, RomeWhiteread The Nameless Library,ViennaArchitectureGolden Fort, JaisalmerLibeskind National HolocaustMonument, Ottawa, CanadaLibeskind Imperial War MuseumNorth, Manchester Pearson Education Ltd 201711
GCE History of Art 20173.3 PeriodsTwo Periods must be selected for study from the five options: C1: Invention and illusion: the Renaissance in Italy (1420–1520) C2: Power and persuasion: the Baroque in Catholic Europe (1597–1685) C3: Rebellion and revival: the British and French Avant-Garde (1848–99) C4: Brave new world: Modernism in Europe (1900–39) C5: Pop Life: British and American contemporary art and architecture (1960–2015)Although the Periods may vary in length, each has been divided into clearcategories outlining the scope of work expected, so that all offer comparable depthand detail. Thus each student must study at least 18 works across the categories aslisted in the specification (pages 16–31), exploring the key topics as outlined aswell as appropriate critical texts to support in-depth knowledge and understandingof selected specified artists.Teachers are free to select their own choices of works, providing that the requirednumber of works by specified artists are met. Teachers and students may choose tostudy more than one example in any category in order to build a stronger debate ormore coherent understanding. However, students must be prepared to answer onat least one example of each category in the final examination and are remindedthat all questions on the papers are compulsory, so all elements of the course mustbe taught.Stakeholder feedback suggested that more guidance on the works and topics to betaught was needed. This has been given in the new Pearson Edexcel specificationand teachers are therefore asked to look carefully at the requirements around typesof works, styles of art and architecture, permissible dates and artist’s nationalitiesin particular, as these may vary from the legacy specification.12 Pearson Education Ltd 2017
Getting Started GuideC1: Invention and illusion: the Renaissance in Italy (1420–1520) Three works by a specified painter (Botticelli, Bellini or Raphael) and criticaltext reference Three works by a specified sculptor (Donatello, Michelangelo or TullioLombardo) and critical text reference At least twelve further works must be explored. Overlap rules (no single workof art may be studied for more than one Theme or Period) must always berespected. In this Period, works are defined by their place of production. Therefore, thesame artist may be used for more than one city region. Discussion of patronageand location contexts will be relevant.This is a sample selection of works only. Teachers may wish to reuse their keyworks and resources previously used for the legacy specification where appropriate,or to select alternative works of art from their region that allow students toenhance their classroom learning with first-hand experience of works in museumsand galleries. Longer lists of suitable works are given in the topic guides.Scope ofworksFlorenceRomeVeniceReligiouspaintingMasaccio Tribute MoneyRaphaelTransfigurationTitian Assumption ofthe VirginReligioussculptureDonatello PenitentMagdaleneMichelangelo PietaTullio LombardoAdamMichelangelo MosesMichelangelo DavidMythological in2D or 3DBotticelli Birth of VenusRaphael GalateaGiorgione SleepingVenusPortraits in 2Dor 3DLeonardo Mona LisaRaphael Pope JuliusGiorgione Portrait ofan Old WomanReligiousarchitectureBrunelleschi NewSacristy at San LorenzoBramante TempiettoAlberti Basilica ofSant’ AndreaSeculararchitectureMichelozzo PalazzoMediciBramante PalazzoCapriniCa d’Oro Pearson Education Ltd 201713
GCE History of Art 2017C2: Power and persuasion: the Baroque in Catholic Europe(1597–1685) Three works by a specified painter (Caravaggio, Rubens or Velazquez) andcritical text reference Three works by a specified sculptor (Bernini, Montañés or Puget) and criticaltext reference At least twelve further works must be explored. Overlap rules (no single workof art may be studied for more than one Theme or Period) must always berespected. Artists are defined by their nationality, even if the work is produced abroad orfor an international client.This is a sample selection of works only. Teachers may wish to reuse their keyworks and resources previously used for the legacy specification where appropriate,or to select alternative works of art from their region that allow students toenhance their classroom learning with first-hand experience of works in museumsand galleries. Longer lists of suitable works are given in the topic guides.Scope of worksItalianOther Catholic EuropeancountryReligious paintingArtemisia Gentileschi JudithBeheading HolofernesRubens Descent from theCrossReligious sculptureBernini Ecstasy of St TeresaLouisa Roldan Ecce HomoMythological paintingFontana Minerva DressingRubens The Judgement ofParisMythological sculptureBernini Rape of ProserpinaPuget Milo of CrotonaPortrait painting orsculptureBernini Bust of Louis XIVVelazquez Las MeninasLandscape paintingRosa Landscape with Tobias andthe AngelRubens Early Morning at HetSteenStill life or genrepaintingGarzoni Plate with White BeansVelazquez Old WomanCooking EggsReligious architectureBorromini San Carlo alle QuattroFontaneCano Granada CathedralSecular architectureMaderno, Borromini & BerniniBarberini PalaceLe Vau Vaux le Vicomte14 Pearson Education Ltd 2017
Getting Started GuideC3: Rebellion and revival: the British and French Avant-Garde(1848–1899) Three works by a specified painter (Holman Hunt, Manet or Gauguin) andcritical text reference Three works by a specified sculptor (Gilbert, Degas, Rodin) and critical textreference At least twelve further works must be explored. Overlap rules (no single workof art may be studied for more than one Theme or Period) must always berespected. Artists are defined by their nationality, even if the work is produced abroad orfor an international client. Equally, works produced by artists of othernationalities who were working in France or Britain are not permissible (e.g.Van Gogh). The selected key works must include at least one example of each of thefollowing styles: Academic French art, Realism, Impressionism, PostImpressionism, Victorian art and Pre-Raphaelite. The selected works of architecture must include at least one work in each of thefollowing styles: Art Nouveau and Arts and Crafts.This is a sample selection of works only. Teachers may wish to reuse their keyworks and resources previously used for the legacy specification where appropriate,or to select alternative works of art from their region that allow students toenhance their classroom learning with first-hand experience of works in museumsand galleries. Longer lists of suitable works are given in the topic guides.Scope of worksFrenchBritishPainting of workinglifeCourbet The Stone BreakersFord Madox Brown WorkPainting of leisureDegas At the RacesFrith Derby DayReligious paintingGauguin Vision after theSermonHolman Hunt The Light of theWorldMythological/literaryin painting orsculptureCabanel The Birth of VenusRodin Orpheus and EurydiceHolman Hunt Isabella and thePot of BasilThe female figure inpainting or sculptureManet OlympiaLeighton The Bath of PsycheLandscape paintingMonet Autumn Effect atArgenteuilHolman Hunt Our EnglishCoastsCommemorativesculptureRodin The Burghers of CalaisGilbert Scott Albert MemorialPublic architecturePaxton Crystal PalaceGarnier Paris OperaDomestic architectureWebb The Red HouseGuimard Castel Beranger Pearson Education Ltd 2017Rodin Monument to Balzac15
GCE History of Art 2017C4: Brave new world: Modernism in Europe (1900–39) Three works by a specified painter (Matisse, Kirchner or Braque) and criticaltext reference Three works by a specified sculptor (Brancusi, Epstein or Giacometti) andcritical text reference At least twelve further works must be explored. Overlap rules (no single workof art may be studied for more than one Theme or Period) must always berespected. Artists are defined by their nationality, even if the work is produced abroad.Thus work by Picasso is always counted as Spanish even if the work wasproduced in France. The choice of work ‘by an artist of a different Europeannationality’ may span any European country and may change across differentcategories. The selected key works must include at least one example of each of thefollowing styles: Fauvism, Cubism, German Expressionism, Futurism, Dada andSurrealism. The selected works of architecture must include at least one work ofModernism.This is a sample selection of works only. Teachers may wish to reuse their keyworks and resources previously used for the legacy specification where appropriate,or to select alternative works of art from their region that allow students toenhance their classroom learning with first-hand experience of works in museumsand galleries. Longer lists of suitable works are given in the topic guides.Scope of worksFrenchOther European countryPainting of modern,urban lifeDelaunay Homage to BlériotKirchner Street Scene BerlinPainting or sculptureinfluenced by‘primitive’ ideasBraque Large NudeFemale figure inpainting or sculptureValadon The Blue RoomGiacometti Woman with herThroat CutPortrait in painting orsculptureVlaminck Portrait of DerainBrancusi Portrait of Mlle PoganyLandscape in paintingBraque Houses at L’EstaqueMiro Catalan Landscape – TheHunterStill life in paintingBraque Glass, Bottle andNewspaperNolde MasksHuman figure insculptureMatisse The SerpentineBoccioni Unique Forms ofContinuity in SpaceHannah Hoch Cut with aKitchen KnifePicasso Les Demoisellesd’AvignonBrancusi The KissBrancusi The SorceressCommercial or publicarchitecturePerret Théatre des ChampsÉlyséesGropius Fagus FactoryDomestic architectureLe Corbusier Villa SavoyeRietveld Schroder House16 Pearson Education Ltd 2017
Getting Started Gui
The subject content requirements for A Level History of Art have been revised for first teaching in September 2017. The full subject content document can be found on the website of the Department for Education, but the list below highlights the key requirements. A
