You will work at the Louvre in Paris, the Metropolitan in New York or the National Gallery in London thanks to this Master's Degree” 

Societies around the world strive to preserve their artistic heritage, as it is a fundamental part of their identities and history. Although art has often been seen as something trivial and superficial, it is an essential cultural element involved in many social activities that influences millions of people. It is therefore not surprising that extremely ancient art is still considerably significant today.

Different pieces of art, spaces and architectural works from different periods are often the most distinctive features of a given region. The Duomo is one of the places that define Milan, the Eiffel Tower is a symbol of Paris and France, and pieces of work such as La Gioconda or the frescoes of the Sistine Chapel define Italy artistically. These works have become part of physical space, and of our collective imagination of these places. Such is the importance of art.

However, for any of this to be possible, works or art must be properly preserved, a task that requires specialists who know how to care for and classify these pieces of artistic heritage.  In this sense, museology is a fundamental discipline, since it is responsible for ensuring works of art find an adequate space for their preservation and dissemination.  This Master's Degree in Museology and Artistic Heritage offers students the possibility of accessing numerous professional opportunities in the world of art, thanks to the great amount of knowledge and competencies they will acquire during the program.  

Moreover, it is imparted following an innovative 100% online teaching methodology based on a practical approach and uses, among other elements, case studies so students enjoy a dynamic learning experience. It is also a flexible in that it adapts to the circumstances of each student, so they can balance their professional careers with their studies.

You will be a great artistic heritage curator. Enroll now”  

This Professional Master's Degree in Museology and Artistic Heritage contains the most complete and up-to-date academic program on the market. Its most notable features are:

• Practical cases presented by experts in Art History, Museology and Heritage Conservation
• The graphic, schematic, and eminently practical contents with which they are created, provide scientific and practical information on the disciplines that are essential for professional practice
• Practical exercises where the self-assessment process can be carried out to improve learning
• Its special emphasis on innovative methodologies
• Theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments
• Access to content from any fixed or portable device with an Internet connection

The best museums in the world are looking for specialists like you. Don't miss the opportunity and enroll in this Master's Degree” 

The program’s teaching staff includes professionals from sector who contribute their work experience to this training program, as well as renowned specialists from leading societies and prestigious universities.

The multimedia content, developed with the latest educational technology, will provide the professional with situated and contextual learning, i.e., a simulated environment that will provide immersive training programmed to train in real situations.

This program is designed around Problem-Based Learning, whereby the professional must try to solve the different professional practice situations that arise during the academic year. For this purpose, the student will be assisted by an innovative interactive video system created by renowned and experienced experts.  

This is the qualification you were looking for. Enroll and devote yourself to your passion"

You will be able to work with the artistic works you admire. Specialize now and go far in the field of museology and heritage conservation "

The contents of this Master's Degree in Museology and Artistic Heritage have been carefully compiled by leading experts in these disciplines, who ensure the syllabus is focused on turning students into true specialists. The curriculum covers issues such as art history, artistic techniques, iconography or the role of architecture and urbanism in art and society. Thus, students will have undergone a complete and deep training in the subject.

This syllabus will make you a great expert in Museology and Artistic Heritage”

Module 1. Introduction to Art History I

1.1. Art in Prehistory

1.1.1. First Artistic Expressions
1.1.2. Portable Art
1.1.3. Parietal or Cave Art
1.1.4. Megalithic Art

1.2. Mesopotamian and Egyptian Art

1.2.1. Mesopotamia: Historical Framework
1.2.2. Sumerian and Akkadian Art
1.2.3. Assyrian and Neo-Babylonian Art
1.2.4. Egypt: Historical Framework
1.2.5. Architecture
1.2.6. Sculpture and Painting

1.3. Eastern Art: India and China

1.3.1. India: Historical Framework
1.3.2. Architecture
1.3.3. Sculpture and Painting
1.3.4. China: Historical Framework
1.3.5. Architecture
1.3.6. Sculpture and Painting

1.4. Ancient American Art: The Olmecs, Maya and Chavín

1.4.1. The Omecs: Historical Framework
1.4.2. Architecture and Sculpture
1.4.3. The Mayan: Historical Framework
1.4.4. Architecture and Sculpture
1.4.5. The Chavín: Historical Framework
1.4.6. Architecture and Sculpture

1.5. Art in Ancient Greece and Rome

1.5.1. Ancient Greece: Historical Framework
1.5.2. Sculpture: from Archaism to Hellenism
1.5.3. Ancient Rome: Historical Framework
1.5.4. Architecture and Urbanism
1.5.5. Mural Painting

1.6. Paleochristian Art

1.6.1. Historical Framework
1.6.2. Catacombs Paintings
1.6.3. The Basilica and New Christian Iconography

1.7. Byzantine Art

1.7.1. Historical Framework
1.7.2. Architecture
1.7.3. Painting: Mosaics and Icons

1.8. Islamic Art

1.8.1. Historical Framework
1.8.2. Architectural Typologies
1.8.3. Mudejar Art

1.9. Romanesque Art

1.9.1. Historical Framework
1.9.2. Pre-Romanesque Background
1.9.3. Architecture. Romanesque Art in Europe
1.9.4. Sculpture.
1.9.5. Painting

1.10. Gothic Art

1.10.1. Historical Framework
1.10.2. Architecture
1.10.3. Sculpture
1.10.4. Painting

Module 2. Introduction to Art History II

2.1. Renaissance Art

2.1.1. Historical Framework
2.1.2. The Italian Renaissance: Architecture, Sculpture and Painting
2.1.3. The Renaissance Greats: Concept of Genius

2.2. The Spread of the Renaissance in Europe and America

2.2.1. The Renaissance in Spain, France and the Netherlands
2.2.2. The Renaissance in Hispanic America
2.2.3. The Renaissance in the Netherlands

2.3. Baroque Art

2.3.1. Historical Framework
2.3.2. The Baroque in Italy and France
2.3.3. Baroque Painting in Flanders and Holland

2.4. Neoclassic Art

2.4.1. Historical Framework
2.4.2. France and Spain: Art Academies
2.4.3. Art Academies in Mexico and America

2.5. XIX Century

2.5.1. Romanticism
2.5.2. Realism
2.5.3. Impressionism
2.5.4. Post-Impressionism

2.6. The Beginning of Modern Art

2.6.1. Cubism
2.6.2. Fauvism
2.6.3. German Expressionism

2.7. Historical Vanguards I

2.7.1. Concept of Avant-Garde
2.7.2. Artistic Manifestos
2.7.3. Italian Futurism

2.8. Historical Vanguards II

2.8.1. Dadaism
2.8.2. Surrealism
2.8.3. Mexican Muralism
2.8.4. Brazilian Anthropophagous

2.9. Bauhaus

2.9.1. What Was the Bauhaus Movement?
2.9.2. Walter Gropius, Hannes Meyer and Ludwig Mies van der Rohe
2.9.3. Workshop Structure
2.9.4. Architecture and the Matter of Social Housing

2.10. Art in the Second Half of the 20th Century

2.10.1. Historical Framework
2.10.2. Abstract Expressionism
2.10.3. Pop Art
2.10.4. Minimalism
2.10.5. Conceptual Art

Module 3. Christian Archeology

3.1. Introduction

3.1.1. Definition
3.1.2. Object of Study
3.1.3. Sources
3.1.4. History
3.1.5. Auxiliary Science in Church History
3.1.6. Theological Sites

3.2. Paleo-Christian Burials

3.2.1. Rites and Beliefs Surrounding Death
3.2.2. The Sepulcher of the Martyrs
3.2.3. Legal Ownership
3.2.4. Open Air Cemeteries

3.3. Catacombs

3.3.1. Sites
3.3.2. Christian Catacombs
3.3.3. Administration.
3.3.4. Catacomb Elements
3.3.5. Localisation

3.4. Roman Catacombs

3.4.1. San Calixto Cemetery
3.4.2. Crypt of the Popes
3.4.3. Sacrament Chapels
3.4.4. Priscila Cemetery
3.4.5. The Greek Chapel
3.4.6. The Sand Reckoner
3.4.7. Domitila Cemetery
3.4.8. Martyr Basilicas
3.4.9. San Sebastian Cemetery or "Ad Catacombs"
3.4.10. Vatican Cemetery
3.4.11. Saint Peter’s Tomb
3.4.12. Saint Paul’s Tomb

3.5. Catacomb Painting

3.5.1. Features
3.5.2. General Themes
3.5.3. Procedures. Symbolism
3.5.4. Cryptograms
3.5.5. Iconography

3.6. Christian Buildings

3.6.1. Buildings prior to the Peace of the Church
3.6.2. Domus Ecclesiae
3.6.3. Titles
3.6.4. Buildings for Cultural Purposes
3.6.5. Baptistries
3.6.6. Deaconries
3.6.7. Description of the Apocalypse
3.6.8. Archaeological Remains

3.7. Christian Basilicas

3.7.1. Functional Reason
3.7.2. Origins
3.7.3. Elements
3.7.4. Constantinian Basilicas (St. John Lateran and St. Peter of the Vatican)
3.7.5. Cemetery Basilicas
3.7.6. Palestinian Basilicas
3.7.7. Other Imperial Basilicas
3.7.8. Some Peculiarities of 4th Century Basilicas

3.8. 5th and 6th Century Christian Basilica Evolution

3.8.1. Apogee of Basilica Architecture during the 5th Century
3.8.2. Vaults and Domes in the 6th century
3.8.3. Architectonic Elements
3.8.4. Centralized Floor Plan
3.8.5. Great Dome Temples
3.8.6. Saint Peter of the Vatican’s Reformation
3.8.7. Other 6th Century Buildings

3.9. Byzantine-Paleochristian Art

3.9.1. Features
3.9.2. Architecture
3.9.3. Mosaics
3.9.4. Constantinople
3.9.5. Ravenna

3.10. Painting and Sculpture

3.10.1. 5th and 6th Centuries Painting and Mosaics
3.10.2. Distancing from Catacombic Types
3.10.3. Painting and Mosaics
3.10.4. Sarcophagus
3.10.5. Ivory
3.10.6. Freestanding Sculptures
3.10.7. Iconography

3.11. Brief Notions of Paleography

3.11.1. Grapheme Classification
3.11.2. Abbreviations

Module 4. Artistic Techniques

4.1. Sculpture

4.1.1. Wood Sculptures

4.1.1.1. Materials and Tools
4.1.1.2. Conservation and Restoration

4.1.2. Stone Sculptures

4.1.2.1. Materials and Tools
4.1.2.2. Techniques

4.1.3. Ivory Sculptures
4.1.4. Metal Sculptures

4.1.4.1. Introduction
4.1.4.2. Metals Used4.1.4.3. Metal Working Techniques
4.1.4.4. Bronze Restoration and Conservation

4.2. Glyptics and Other Works

4.2.1. Introduction
4.2.2. Incision, Stamps and Cameos
4.2.3. Chemical Incision, Cutting and Diamonds
4.2.4. Rock Crystals, Jades, Amber, Ivory and Coral

4.3. Ceramics

4.3.1. Introduction
4.3.2. Terracotta and Ceramic Tiling
4.3.3. Porcelain
4.3.4. Stoneware, Earthenware and Stucco

4.4. Glass

4.4.1. The Origins of Glass
4.4.2. Ancient Techniques in Glass Object Manufacturing
4.4.3. Glassblowing

4.5. Drawing

4.5.1. First Graphic Expressions
4.5.2. Drawing on Parchment and Paper
4.5.3. Pastel

4.6. Engraving and Stamping

4.6.1. Introduction
4.6.2. Woodcutting and Lithography
4.6.3. Copper Engraving

4.6.3.1. Copper Engraving Techniques

4.6.4. Direct Engraving on Sheet Metal
4.6.5. Indirect Engraving on Sheet Metal with Etchants
4.6.6. Lithography and Other Techniques

4.7. Painting

4.7.1. Ancient Mural Painting
4.7.2. Frescos

4.7.2.1. Introduction
4.7.2.2. Fresco Restoration

4.7.3. Temples
4.7.4. Miniatures
4.7.5. Oil Painting
4.7.6. Watercolor and Gouache

4.8. Mosaics and Inlays

4.8.1. Lithostrate
4.8.2. Glass Paste Mosaics
4.8.3. Inlaying

4.9. Stained Glass

4.9.1. General Problems and Processing Techniques
4.9.2. Color, Grisaille and Silver Yellow
4.9.3. Lighting Problems

4.10. Textiles

4.10.1. Textiles and Fabrics
4.10.2. Upholstery
4.10.3. Rugs and Carpets

Module 5. Classical Iconography

5.1. Studying Figurative Art Images

5.1.1. Different Studies
5.1.2. Iconography
5.1.3. Iconographic Sources

5.2. Iconographic Repertoire I

5.2.1. Zeus
5.2.2. Hera
5.2.3. Poseidon

5.3. Iconographic Repertoire II

5.3.1. Aphrodite
5.3.2. Eros
5.3.3. Hephaestus

5.4. Iconographic Repertoire III

5.4.1. Ares
5.4.2. Athena
5.4.3. Apollo

5.5. Iconographic Repertoire IV

5.5.1. Artemis
5.5.2. Hermes
5.5.3. Dionysus

5.6. Iconographic Repertoire V

5.6.1. Demeter
5.6.2. Hades and Persephone
5.6.3. Hecate

5.7. Zeus’ Wives

5.7.1. Metis
5.7.2. Temis
5.7.3. Mnemosyne

5.8. Zeus' Descendants

5.8.1. Moiras
5.8.2. Horae or Hours
5.8.3. Charites or Graces
5.8.4. Muses

5.9. Myths in Art

5.9.1. Ancient Greek Mythology
5.9.2. Venus and Adonis
5.9.3. Cephalus and Procris

5.10. Representation in Art

5.10.1. Genre Pictures, Medieval Calendars and Flemish Primitives
5.10.2. Quentin Metsys and Brueghel the Elder
5.10.3. Dutch Painters and Landscape Paintings
5.10.4. Joachim Patinir, Brueghel the Elder, Meindert Hobbema, Jacob Van Ruisdael and Caspar David Friedrich

Module 6. Christian Iconography

6.1. Iconographic Cycles

6.1.1. Joachim and Annne’s Cycle
6.1.2. Mary’s Childhood Cycle
6.1.3. Choice of Husband and Betrothal

6.2. Importance of the Annunciation Cycle

6.2.1. Annunciation to the Blessed Virgin Mary Cycle
6.2.2. The Annunciation in the East
6.2.3. The Annunciation in West

6.3. Liturgical Iconography

6.3.1. Holy Vessels

6.3.1.1. Types of Vessels
6.3.1.2. Secondary

6.3.2. Interior Liturgical Cladding
6.3.3. Exterior Liturgical Cladding
6.3.4. Add-Ons

6.4. Liturgical Colors and Insignias

6.4.1. Liturgical Colors
6.4.2. Major Liturgical Insignias
6.4.3. Minor Liturgical Insignias

6.5. Symbolism

6.5.1. Iconographic Symbols
6.5.2. Life of the Virgen Cycle
6.5.3. Pentecostal

6.6. Saint Calendar I

6.6.1. Saint Catherine of Alexandria
6.6.2. Saint Barbara
6.6.3. Saint Cecilia
6.6.4. Saint Christopher

6.7. Saint Calendar II

6.7.1. Saint Lawrence Deacon
6.7.2. Saint Anthony the Abbot
6.7.3. Santiago the Apostle
6.7.4. Saint Michael the Archangel

6.8. Saint Calendar III

6.8.1. Saint Blaise
6.8.2. San Sebastián
6.8.3. Saint Roch
6.8.4. Saint Lazarus

6.9. Saint Calendar IV

6.9.1. Saint Lucy
6.9.2. Saint Agatha of Sicily
6.9.3. Saint Agnes of Rome
6.9.4. Saint Isidore the Farm Labourer

6.10. Saint Calendar V

6.10.1. Saint John of Nepomuk
6.10.2. Saint Helena
6.10.3. Saint Ferdinand III of Castile
6.10.4. Louis IX the Saint, King of France
6.10.5. Saint Nicholas of Myra (aka Nicholas of Bari)

Module 7. Sources in Art History

7.1. Historical Sources

7.1.1. Historical Sources: Epistemology
7.1.2. Historical Sources: Classification
7.1.3. Historical Sources: Location

7.2. Handling Sources

7.2.1. Source Gathering and Critique
7.2.2. Contrasting Sources
7.2.3. Data Capture and Information Management

7.3. Historical Archives

7.3.1. The Need for Archives
7.3.2. Archives in the Modern Age
7.3.3. Digital Archives

7.4. Archivists Today

7.4.1. Archivists: Role
7.4.2. Archivists: Social Status
7.4.3. Importance of the Archivist in Administrative Records Management

7.5. The Social and Political Community as Source Creators

7.5.1. Parish Archives
7.5.2. Municipal Archives
7.5.3. Notary Archives
7.5.4. Judicial / Court Archives
7.5.5. Family Archives

7.6. Large Archival Repositories in Mexico

7.6.1. General National Archive
7.6.2. Archiepiscopal Archives
7.6.3. National Newspaper Archive
7.6.4. State Archives

7.7. National Libraries

7.7.1. National Library of Mexico
7.7.2. Mexico City's Biblioteca Vasconcelos (Vasconcelos Library)
7.7.3. Pueba’s City Biblioteca Palafoxiana Library

7.8. Public Libraries

7.8.1. Public Libraries
7.8.2. Mexican Association of Private Archives and Libraries AC

7.9. Main Historical Documents in the Modern Age

7.9.1. Main Historical Documents in the Modern Age
7.9.2. Actual Documentation in the Modern Age

7.10. Typefaces Used in the Modern Age

7.10.1. Humanistic Writing
7.10.2. The Crisis of Gothic Writing
7.10.3. Types of Modern Writing

Module 8. Museology and Heritage

8.1. The Origins of Museums

8.1.1. Near East
8.1.2. Far East
8.1.3. Greece
8.1.4. Rome
8.1.5. The Middle Ages
8.1.6. Renaissance, Mannerism and Baroque
8.1.7. XVI Century
8.1.8. XVII Century
8.1.9. XVIII Century

8.2. Exhibitions

8.2.1. Introduction
8.2.2. Exhibition Limitations and Intricacies
8.2.3. Types of Exhibition
8.2.4. Processions

8.3. Heritage

8.3.1. Ecclesiastical Heritage
8.3.2. Institutional Frameworks, Cultural Identification Sectors and Cultural Policies
8.3.3. Cultural Assets and Cultural Management

8.4. French Museums

8.4.1. Old System
8.4.2. The Enlightenment
8.4.3. The National Assembly
8.4.4. French Museums before and after the Revolution

8.5. Museum Typologies Promoted by the French National Constituent Assembly

8.5.1. The French National Museum of Natural History
8.5.2. The Musée des Monuments Français
8.5.3. The Louvre
8.5.4. Luxembourg Palace

8.6. From Napoleon I to the Second World War

8.6.1. Napoleon I or Napoleon Bonaparte
8.6.2. Covered Passages
8.6.3. Palace of Versailles
8.6.4. The 19th Century
8.6.5. The 20th Century
8.6.6. Germany, Italy, Russia and the United States
8.6.7. The Second World War Disruption

8.7. Museology and Museography

8.7.1. Museology and Museography
8.7.2. New Museology
8.7.3. Expanding the Concept of Museum
8.7.4. Museum Strategies

8.7.4.1. Anglo-Saxon Strategy
8.7.4.2. Mediterranean Strategy

8.8. North American Museums

8.8.1. Features of North American Museums
8.8.2. Funding System
8.8.3. Trust-Forming Museums

8.9. Museums and Relevant Figures

8.9.1. Whitney Museum of American Art
8.9.2. Isabella Stewart Gardner Museum
8.9.3. Albright-Knox Art Gallery
8.9.4. Key Sponsorship Figures

8.9.4.1. Gertrude Stein

8.10. Museums in History

8.10.1. Ancient Art Museums
8.10.2. Middle Ages Art Museums
8.10.3. Modern Age Art Museums
8.10.4. Contemporary Art Museums

Module 9. Urbanism

9.1. Introduction

9.1.1. What Is Urbanism?
9.1.2. Cities in History
9.1.3. Urbanization Process

9.2. Cities and Lands

9.2.1. Geographical Conditions
9.2.2. Cultural Situation
9.2.3. Results: Cultural Identity and Land

9.3. Urban Morphology

9.3.1. Urban Morphology Analysis
9.3.2. Plans
9.3.3. Urban Construction
9.3.4. Land Use

9.4. Urban Interventions

9.4.1. Urban Regeneration and Rehabilitation
9.4.2. Urban Renewal and Redevelopment
9.4.3. Other Concepts

9.5. Urban Areas

9.5.1. Concept of Urban Area
9.5.2. Characteristic Features of Urban Spaces
9.5.3. Types of Urban Areas

9.6. Population and Urban Economic Activity

9.6.1. Urban Populations
9.6.2. Urban Economic Activity
9.6.3. Urban Economic Strategies

9.7. Internal City Structure Models

9.7.1. Urban Morphology and Internal City Structures
9.7.2. Classical Theories on Urban Structures
9.7.3. Recent Theories on Urban Structures

9.8. Urban Planning

9.8.1. Introduction
9.8.2. Municipal Urban Planning: Plans and Programs
9.8.3. Planning City Expansion Areas

9.9. Climate Change.

9.9.1. What Is Climate Change?
9.9.2. Urban Phenomenon and Climate Change
9.9.3. Local Sphere: Towns and Cities against Climate Change

9.10. Sustainable Urbanism

9.10.1. Environmental Sustainability
9.10.2. Economic Sustainability
9.10.3. Social Sustainability

Module 10. Contemporary Architecture

10.1. Technological and Sociological Foundations

10.1.1. Introduction and Historical Context
10.1.2. Fundamental Materials and Elements
10.1.3. Georges-Eugène Haussmann, Camillo Sitte and Urbanism

10.2. Utopian Architecture

10.2.1. Introduction
10.2.2. Étienne-Louis Boullée
10.2.3. Claude-Nicolas Ledoux

10.3. The Chicago School

10.3.1. Introduction
10.3.2. William Le Baron Jenney and Louis Henry Sullivan

10.3.2.1. Adler & Sullivan

10.3.3. Frank Lloyd Wright

10.4. Architectural Modernism

10.4.1. Introduction
10.4.2. Belgium: Víctor Horta and Henry van de Velde
10.4.3. France: Hector Guimard
10.4.4. Great Britain: Charles Rennie Mackintosh
10.4.5. Secession: Otto Wagner and Josef Hoffmann

10.5. Protorationalism and Architectural Expressionism

10.5.1. Introduction
10.5.2. Deutsche Werkbund: Peter Behrens and Walter Gropius
10.5.3. Adolf Loss and Gottíried Semper
10.5.4. Expressionist Architecture

10.5.4.1. Introduction
10.5.4.2. Rudolf Steiner, Bruno Taut and Erich Mendelsohn

10.6. Bauhaus

10.6.1. Introduction
10.6.2. Bauhaus Phases

10.6.2.1. Initial or Mystical Phase
10.6.2.2. Second or Technical Phase
10.6.2.3. Marxist Phase
10.6.2.4. Final or Survival Phase

10.6.3. Key Figures

10.6.3.1. Walter Gropius

10.7. Avant-garde Architectures

10.7.1. Influential Figures

10.7.1.1. Ludwig Mies van der Rohe
10.7.1.2. Tony Garnier
10.7.1.3. Auguste Perret

10.7.2. Russian Constructivism
10.7.3. Italian Futurism
10.7.4. Dutch Neoplasticism

10.8. International Style

10.8.1. Le Corbusier
10.8.2. Giussepe Terragni, Heinrich Tessenow and Albert Speer
10.8.3. Alvar Aalto

10.9. Theory of Modernity in Architecture I

10.9.1. Life and Thought of John Ruskin
10.9.2. Life and Thought of William Morris
10.9.3. The Arts & Crafts Movement

10.10. Theory of Modernity in Architecture II

10.10.1. Life and Thought of Oscar Wilde
10.10.2. Life and Thought of Eugène Viollet-le-Duc
10.10.3. Life and Thought of Gottfried Semper

You love art, and the contents of this Master's Degree will turn you into great expert”