Studying Art History will lead you to do impeccable work protecting and restoring ancient monuments” 

Art History is a fascinating science that studies the evolution of the arts through time and space, focusing on certain specific periods. In fact, it is classified as a social science with a marked multidisciplinary character in which an objective examination is sought to establish the most relevant characteristics and styles in each period.

In collaboration with other specialties in this discipline, art history is now understood as a set of conceptual tools that help produce knowledge that goes far beyond a descriptive analysis of a work. Therefore, the work of an art historian focuses on theoretical formulation that are transformed into hypotheses for subsequent verification.

The complexity of this work makes it necessary for specialists to have a set of theoretical knowledge in the field, as well as certain research and interpretation skills to develop critical thinking in their line of work. For all these reasons, this Master's Degree has been designed to help those interested achieve their goals, providing them with the opportunity to participate in different projects such as the protection of monuments, the conservation of works of art or the dissemination of artistic heritage.

Counting on a completely online program, different aspects will be addressed, starting with understanding the origins of art history from the basic knowledge of anthropology and archaeology. Then, a distinction will be made according to the multiple periods of world history (prehistory, Middle Ages, Modern Age, etc.) and the key points that define each era.

Finally, the architecture and work of various Latin American artists will be analyzed, such as Frida Kahlo or José Clemente Orozco, who marked the modern era with their peculiar style. Therefore, students will immediately obtain their degree at the end of the program, allowing them to directly exercise all the knowledge acquired during the 12 months of the program.

Knowledge is power, and learning about Art History will help you find new career opportunities” 

This Master's Degree in Art History contains the most complete and up to date program on the market. Its most notable features are:

• Practical cases presented by experts in Art History
• 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 self assessment can be used to improve learning
• Its special emphasis on innovative methodologies
• Theoretical lessons, questions to the expert, debate forums on controversial topics, and individual reflection assignments
• Content that is accessible from any fixed or portable device with an Internet connection

By enrolling now, you will have 24 hour access to the virtual classroom, no matter where you are in the world” 

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.

The design of this program focuses on Problem Based Learning, which means the student must try to solve the different real life situations of that arise throughout the academic program. For this purpose, the student will be assisted by an innovative interactive video system created by renowned and experienced experts.

You will have a series of case studies at your disposal that will help you relate concepts to historical facts"

A complete and updated program that will lead you to carry out new restoration projects at an international level"

The program contents meet all the requirements to take students' careers to new professional heights. Thanks to the flexibility afforded by our online modality, students can access their classes at any time, pause them and resume them at their convenience. The result is a Master's Degree that brings together the empirical and practical knowledge that every professional needs to specialize in this discipline.

Today is a good time to set new professional goals. Enroll in this program and start adding value to your knowledge” 

Module 1. Art in Antiquity I

1.1. Prehistory: The Origins of Art

1.1.1. Introduction
1.1.2.  Figuration and abstraction in prehistoric art
1.1.3. The Art of Paleolithic Hunters
1.1.4. The Origins of Painting
1.1.5. Naturalism and Magic
1.1.6. Artist, Shaman and Hunter
1.1.7. The Importance of the Cave of Altamira

1.2. The Neolithic: First Farmers and Ranchers

1.2.1. Domesticating Animals and Plants, and Early Settlements
1.2.2. Everyday Life as Artistic Theme
1.2.3. Figurative Art
1.2.4. Levantine Art
1.2.5. Schematic Art, Ceramics and Body Ornamentation
1.2.6. Megalithic Constructions

1.3. Egypt: Pre-dynastic and Old Empire Art

1.3.1. Introduction
1.3.2. First Dynasties
1.3.3. Architecture

1.3.3.1. Mastabas and Pyramids
1.3.3.2. The Giza Pyramids

1.3.4. Old Empire Sculpture

1.4. Middle and New Empire Art

1.4.1. Introduction
1.4.2. New Empire Architecture
1.4.3. The Great Temples of the New Empire
1.4.4. Sculpture
1.4.5. The Tell el-Amarna Revolution

1.5. Late Egyptian Art and the Evolution of Painting

1.5.1. The Last Period of Egyptian History
1.5.2. The Last Temples
1.5.3. The Evolution of Egyptian Painting

1.5.3.1. Introduction
1.5.3.2. Technique
1.5.3.3. Themes
1.5.3.4. Evolution

1.6. Early Mesopotamian Art

1.6.1. Introduction
1.6.2. Mesopotamian Protohistory
1.6.3. First Sumerian Dynasties
1.6.4. Architecture

1.6.4.1. Introduction
1.6.4.2. Temples

1.6.5. Akkadian Art
1.6.6. The Period Considered Neo-Sumerian
1.6.7. The Importance of Lagash
1.6.8. The Fall of Ur
1.6.9. Elamite Art

1.7. Babylonian and Assyrian Art

1.7.1. Introduction
1.7.2. The Kingdom of Mari
1.7.3. The Early Babylonian Period
1.7.4. The Hammurabi Code
1.7.5. The Assyrian Empire
1.7.6. Assyrian Palaces and Architecture
1.7.7. Assyrian Fine Arts
1.7.8. The Fall of the Babylonian Empire and Neo-Babylonian Art

1.8. The Art of the Hittites

1.8.1. The Background and Formation of the Hittite Empire
1.8.2. The Wars against Assyria and Egypt
1.8.3. The Hatti Period: First Stage
1.8.4. The Ancient Kingdom of the Hittites: The Empire
1.8.5. The Dark Period of Hittite Culture

1.9. Phoenician Art

1.9.1. Introduction
1.9.2. The Sea Peoples
1.9.3. The Importance of Purple
1.9.4. The Influences of Egypt and Mesopotamia
1.9.5. The Phoenician Expansion

1.10. Persian Art

1.10.1. The Expansion of the Medes and the Destruction of the Assyrian Empire
1.10.2. The Formation of the Persian Kingdom
1.10.3. Persian Capitals
1.10.4. Art in the Palace of Darius in Persepolis
1.10.5. Funerary Architecture and Eclectic Art
1.10.6. The Parthian and Sassanid Empire

Module 2. Art in Antiquity II

2.1. Greece: Pre-Hellenic Art

2.1.1. Introduction: The Different Writing Systems
2.1.2. Cretan Art
2.1.3. Mycenaean Art

2.2. Archaic Greek Art

2.2.1. Greek Art
2.2.2. The Origins and Evolution of Greek Temples
2.2.3. Architectural Orders
2.2.4. Sculpture
2.2.5. Geometric Ceramics

2.3. The First Classicism

2.3.1. The Great Panhellenic Sanctuaries
2.3.2. Free-Standing Sculpture in Classicism
2.3.3. The Importance of Myron and Polyclitus
2.3.4. Ceramics and Other Arts

2.4. Art in the Time of Pericles

2.4.1. Introduction
2.4.2. Phidias and the Parthenon
2.4.3. The Acropolis in Athens
2.4.4. Other Pericles Contributions
2.4.5. Pictorial Art

2.5. Greek Art in the 4th Century B.C.

2.5.1. The Crisis of the Classical Polis and Its Impact on Art
2.5.2. Praxiteles
2.5.3. The Drama of Scopas
2.5.4. The Naturalism of Lysippus
2.5.5. Funerary Stelae and Greek Painting

2.6. Hellenistic Art

2.6.1. Hellenism
2.6.2. Pathos in Hellenistic Sculpture
2.6.3. The Hellenistic Schools
2.6.4. Painting and Applied Arts

2.7. Etruscan Art

2.7.1. Introduction: Etruscan Tombs and Sepulchral Figurines
2.7.2. Etruscan Religion and Sculptural Production
2.7.3. Mural Painting and Minor Arts

2.8. The Origins of Roman Art and Art in the Time of Augustus and His Successors

2.8.1. Introduction: Early Roman Temples and the Origins of Roman Portraiture
2.8.2. Greek Idealism and Latin Naturalism
2.8.3. The Architecture of the Caesars and the Decoration of Roman Houses
2.8.4. The Official Portrait and Sumptuary Arts

2.9. Art in the Flavian and Antonine Periods, and the Late Roman Period I

2.9.1. The Great Monuments of Rome
2.9.2. The Pantheon
2.9.3. Sculpture

2.10. Art in the Flavian and Antonine Periods, and the Late Roman Period II

2.10.1. Decorative and Pictorial Styles
2.10.2. The Crisis of the Lower Empire
2.10.3. The Dissolution of Classicism in Sculpture

Module 3. Art in the Media Ages I

3.1. Pre-Romanesque and Proto-Romanesque Style I

3.1.1. Introduction and Preparation to Medieval Art
3.1.2. The Art of the Barbarian Peoples
3.1.3. Architecture

3.2. Pre-Romanesque and Proto-Romanesque Style II

3.2.1. The Art Dominated by the Visigoths

3.2.1.1. The Visigothic Monarchy

3.2.2. Pre-Romanesque Art in Asturias
3.2.3. Mozarabism
3.2.4. Irish Monasticism

3.3. Pre-Romanesque and Proto-Romanesque Style III

3.3.1. Viking Art
3.3.2. Pre-Romanesque Architecture in the North, Outside the Empire
3.3.3. Proto-Romanesque Architecture in Southern Europe

3.4. The Carolingian Revival

3.4.1. Carolingian Art
3.4.2. The Saint Gall Monastery
3.4.3. Lombard Architecture
3.4.4. Sumptuary Arts

3.5. Early Romanesque Styles

3.5.1. The So-Called "First Romanesque"
3.5.2. Romanesque Architecture in Germany under the Saxon and Franconian Dynasties
3.5.3. France (900-1050)

3.6. The Mature Romanesque: Interregional and International Architecture

3.6.1. Churches on Pilgrimage Routes
3.6.2. The Importance of Cluny in the Romanesque Period
3.6.3. The Cistercians: Architecture

3.7. Romanesque Art in France

3.7.1. Romanesque Architecture in France

3.7.1.1. Introduction
3.7.1.2. Regional Schools
3.7.1.3. The Vézelay Church

3.7.2. Sculpture: Cloisters and Portals
3.7.3. Decorative Art

3.8. Romanesque Art in Spain

3.8.1. The Importance of the Camino de Santiago or the Way of St. James
3.8.2. Sculptures on Pilgrimage Routes
3.8.3. Catalan Romanesque Art

3.8.3.1. Introduction
3.8.3.2. The Monastery of San Pere de Rhodes

3.8.4. Pictorial Art and Imagery

3.8.4.1. Introduction
3.8.4.2. The Pantocrator of San Clemente de Tahull

3.9. Romanesque Art in Italy

3.9.1. Variety in Italian Romanesque Art
3.9.2. North and Central Italy
3.9.3. Sculptural Classicism and Pictorial Byzantinism

3.10. Romanesque Art in Other Parts of Europe

3.10.1. The Ottonian Heritage in Germany
3.10.2. England and Scandinavia
3.10.3. Sumptuary Arts

Module 4. Art in the Media Ages II

4.1. The Gothic in France I

4.1.1. Features of Gothic Architecture
4.1.2. French Cathedrals
4.1.3. Notre-Dame in Paris

4.2. The Gothic in France II

4.2.1. Civil Architecture
4.2.2. Sculpture
4.2.3. Painting and Miniatures

4.3. Gothic Art in Spain

4.3.1. Spanish Cathedrals

4.3.1.1. Introduction
4.3.1.2. The Cathedral in Leon

4.3.2. Architecture in the Crown of Aragon
4.3.3. Sculpture, Painting and Miniatures

4.4. Gothic Art in North and Central Europe

4.4.1. The Opus Francigenum or the French Style in Germany
4.4.2. Germanic Sculpture
4.4.3. East and North Europe
4.4.4. The Netherlands

4.5. Gothic Art in England

4.5.1. The Normand Tradition
4.5.2. Decorated and Perpendicular Styles
4.5.3. The Cathedral in Durham

4.6. The Gothic in Italy I

4.6.1. Architecture
4.6.2. The Influence of the Mendicant Orders
4.6.3. Meridional Italy

4.7. The Gothic in Italy II

4.7.1. Classicism in the Middle Ages
4.7.2. Nicola Pisano, Giovanni Pisado and Arnolfo di Cambio
4.7.3. The Origins of Gothic Painting in Italy

4.8. Giotto’s Painting

4.8.1. Giotto’s Art
4.8.2. Giotto and the Scrovegni Chapel: Lamentation over the Dead Christ
4.8.3. Giotto’s Disciples

4.9. Other Key Painters

4.9.1. Duccio
4.9.2. Simone Martini
4.9.3. The Lorenzetti Brothers

4.9.3.1. Introduction
4.9.3.2. Work: The Allegory of Good and Bad Government

4.10. Art in Flanders in the 15th Century

4.10.1. Introduction
4.10.2. Hubert and Jan van Eyck

4.10.1.1. Work: The Betrothal of the Arnolfini Family

4.10.3. The Oil Painting Revolution
4.10.4. The Continuity of Flemish Painting

Module 5. Art in the Modern Age I

5.1. Quattrocento: Florentine Architecture

5.1.1. Introduction and Architecture

5.1.1.1. The Florence Cathedral

5.1.2. Filippo Brunelleschi
5.1.3. Florence Palaces
5.1.4. Leon Battista Alberti
5.1.5. Rome Palaces and Ducal Palace of Urbino
5.1.6. Naples and Alfonso V of Aragon

5.2. 15th Century Tuscan Sculptors

5.2.1. Introduction: Lorenzo Ghiberti
5.2.2. Andrea del Verrocchio
5.2.3. Jacopo della Quercia
5.2.4. Luca della Robbia
5.2.5. Sculptors in the Second Half of the 15th Century
5.2.6. The Medals
5.2.7. Donatello

5.3. Painting in the First Renaissance

5.3.1. Tuscan Painters
5.3.2. Sandro Botticelli
5.3.3. Piero della Francesca
5.3.4. Quattrocentista Painting outside Tuscany
5.3.5. Leonardo da Vinci

5.4. Cinquecento: 16th Century Italian Painting

5.4.1. Leonardo da Vinci’s Disciples
5.4.2. Rafael Sanzio
5.4.3. Luca Signorelli and Michelangelo
5.4.4. Michelangelo’s Disciples
5.4.5. Andrea del Sarto and Correggio
5.4.6. Mannerism and Representatives

5.5. 16th Century Italian Sculpture

5.5.1. Michelangelo’s Sculptures
5.5.2. Sculptural Mannerism
5.5.3. Importance of Perseus with Medusa's Head

5.6. 16th Century Italian Architecture

5.6.1. Saint Peter’s Basilica
5.6.2. Vatican Palace
5.6.3. The Influence of Roman Palaces
5.6.4. Venetian Architecture

5.7. Late Renaissance and Painting

5.7.1. The Venetian School of Painting
5.7.2. Giorgione
5.7.3. Veronese
5.7.4. Tintoretto
5.7.5. Tiziano
5.7.6. Tiziano’s Last Years

5.8. Renaissance in Spain and France

5.8.1. Introduction and Architecture
5.8.2. Sculpture in the Spanish Renaissance
5.8.3. Painting in the Spanish Renaissance
5.8.4. El Greco’s Importance

5.8.4.1. El Greco
5.8.4.2. Venetian Painters and Influence
5.8.4.3. El Greco in Spain
5.8.4.4. El Greco and Toledo

5.8.5. French Renaissance
5.8.6. Jean Goujon
5.8.7. Italian Dye Painting and the School of Fontainebleau

5.9. 16th Century Flemish and Dutch Painting

5.9.1. Introduction and Painting
5.9.2. El Bosco
5.9.3. Italian Painting Principles
5.9.4. Pieter Brueghel the Elder

5.10. Central Europe Renaissance

5.10.1. Introduction and Architecture
5.10.2. Painting
5.10.3. Lucas Cranach
5.10.4. Other Painters from the German Reformation School
5.10.5. Swiss Painters and a Taster for the Gothic
5.10.6. Alberto Durero

5.10.6.1. Alberto Durero
5.10.6.2. Contact with Italian Art
5.10.6.3. Durero and the Theory of Art
5.10.6.4. The Art of Printmaking
5.10.6.5. Great Altarpieces
5.10.6.6. Imperial Assignments
5.10.6.7. A Taste for Portraits
5.10.6.8. Durero’s Humanist Thought
5.10.6.9. The End of His Life

Module 6. Art in the Modern Age II

6.1. Baroque Italian Architecture

6.1.1. Historical Context
6.1.2. The Origins
6.1.3. Palaces and Villas
6.1.4. The Italian Architects

6.2. The Arts in Baroque Rome

6.2.1. Baroque Sources in Rome
6.2.2. Painting
6.2.3. Bernini and Sculpture

6.3. Caravaggio

6.3.1. Caravaggio and Caravaggism
6.3.2. Tenebrism and Realism
6.3.3. The Painter's Last Years
6.3.4. The Artist’s Style
6.3.5. Caravaggio’s Followers

6.4. The Baroque Period in Spain

6.4.1. Introduction
6.4.2. Baroque Architecture
6.4.3. Baroque Imagery

6.5. Spanish Baroque Painting

6.5.1. Realism
6.5.2. Murillo’s Immaculates
6.5.3. Other Spanish Baroque Painters

6.6. Velázquez: Part I

6.6.1. Velázquez’s Genius
6.6.2. Seville Period
6.6.3. First Madrid Period

6.7. Velázquez: Part II

6.7.1. Second Madrid Period
6.7.2. Departure to Italy
6.7.3. The Importance of His Venus in the Mirror
6.7.4. The Last Period

6.8. The Great French Century

6.8.1. Introduction
6.8.2. Palace of Versailles
6.8.3. Sculptural Work
6.8.4. Painting

6.9. The Baroque Period in Flanders and Holland

6.9.1. Introduction and Architecture
6.9.2. The Painting of Flemish Artists
6.9.3. 17th Century Dutch Painters

6.10. Three Greats: Rubens, Rembrandt and Vermeer

6.10.1. Rubens, The Painter of Women
6.10.2. Rembrandt
6.10.3. Johannes Vermeer

Module 7. Contemporary Art

7.1. Rococo Art

7.1.1. Introduction
7.1.2. An Exuberant Art
7.1.3. Porcelain

7.2. 18th Century French Painting and Sculpture

7.2.1. Introduction
7.2.2. Juan-Antoine Watteau
7.2.3. French Portraits and Landscapes
7.2.4. Jean-Honoré Fragonard

7.3. 18th Century Italian and French Painting

7.3.1. 18th Century French Genre Painting and Sculpture
7.3.2. 18th Century Italian Painting
7.3.3. The Venetian School

7.4. The English School of Painting

7.4.1. Realism in the Work of Hogarth and Reynolds
7.4.2. Gainsborough’s English Style
7.4.3. Other Portrait Artists
7.4.4. Landscape Painting: John Constable and William Turner

7.5. Enlightenment Art in Spain

7.5.1. Architecture
7.5.2. Applied Arts
7.5.3. Sculpture and Painting

7.6. Francisco de Goya

7.6.1. Francisco de Goya and Lucientes
7.6.2. Painter for the Crown
7.6.3. Goya’s Maturity
7.6.4. Quinta del Sordo or Quinta de Goya
7.6.5. Goya’s Years in Exile

7.7. Neoclassical I

7.7.1. Rediscovering Antiquity: France, England and the United States
7.7.2. Neoclassical Sculpture
7.7.3. Jaques-Louis David, The Neoclassical Painter

7.8. Neoclassical II and Introduction to Romantic Painting

7.8.1. Ingres' Academicism
7.8.2. Applied Arts
7.8.3. Introduction to Romantic Painting

7.9. Romantic Painting

7.9.1. Eugène Delacroix
7.9.2. German Romanticism
7.9.3. The Nazarenes and the Darkness of Johann Heinrich Füssli and William Blake

7.10. Postromantic English Painting

7.10.1. Introduction
7.10.2. The Pre-Raphaelites
7.10.3. William Morris and Arts & Crafts

Module 8. Contemporary Art II

8.1. Postromantic French Painting

8.1.1. Introduction: The Barbizon School
8.1.2. Jean-François Millet and His Work on The Gleaners
8.1.3. Camille Corot, The Landscaper
8.1.4. Honoré Daumier
8.1.5. Gustave Courbet and Realism
8.1.6. Academic Painting

8.2. Realist and Naturalist Sculpture

8.2.1. Introduction
8.2.2. Naturalism and Funerary Sculpture
8.2.3. Portrait and Realism

8.3. 19th Century Architecture

8.3.1. Historicism and Eclecticism
8.3.2. The Industrial Revolution and Architecture
8.3.3. Modern Esthetic in Architecture
8.3.4. Chicago School
8.3.5. Louis Henry Sullivan
8.3.6. The Modern City: The Cerdá Plan

8.4. Impressionism I

8.4.1. Introduction
8.4.2. Édouard Manet
8.4.3. Claude Monet
8.4.4. Pierre-Auguste Renoir

8.5.  Impressionism II

8.5.1. Alfred Sisley and Landscapes: Camille Pissarro and The Urban
8.5.3. Edgar Degas
8.5.4. Impressionism in Spain
8.5.5. Auguste Rodin, The Impressionist Sculptor

8.6. Postimpressionism and Neoimpressionism I

8.6.1. Introduction
8.6.2. The Pointillism of Georges Pierre Seurat and Paul Signac
8.6.3. Paul Cézanne

8.7. Postimpressionism and Neoimpressionism II

8.7.1. Vincent van Gogh
8.7.2. Henri de Toulouse-Lautrec
8.7.3. Paul Gauguin

8.8. Symbolism, Naïf Painting and the Nabis

8.8.1. Symbolism: Gustave Moreau and Pierre Puvis de Chavannes
8.8.3. Odilon Redon
8.8.4. Gustav Klimt
8.8.5. Naïf Painting: Henri Rousseau
8.8.6. The Nabis

8.9. The Vanguards I

8.9.1. Fauvism
8.9.2. Cubism
8.9.3. Pre-expressionism
8.9.4. Expressionism

8.10. The Vanguards II

8.10.1. Futurism
8.10.2. Dadaism
8.10.3. Surrealism

Module 9. Art in the Americas I

9.1. Hispano-American Art

9.1.1. Terminological Problems
9.1.2. Differences between European and American: The Indigenous Contribution as Differentiation
9.1.3. Cultured Art and Popular Art
9.1.4. Style and Chronology Problems
9.1.5. Specific and Particular Features
9.1.6. Environmental Conditions and Adapting to Surroundings
9.1.7. Mining

9.2. A Clash of Cultures: Art and Conquest

9.2.1. Icon and Conquest
9.2.2. Adaptation and Modification of Christian Iconography
9.2.3. The European Vision of the Conquest and the Conquest in Fine Arts in the Americas

9.2.3.1. The Conquest of Mexico: Colonial Paintings and Codices
9.2.3.2. The Conquest of Peru: Iconography and Myth

9.2.4. Guamán Poma de Ayala
9.2.5. The Extirpation of Idolatries and the Reflection in Art
9.2.6. Sculpture and the Idolatrous Survival of the Idols

9.3. Urbanization and Territorial Domination

9.3.1. The Strong City
9.3.2. Cities Superimposed on Indigenous Settlements: Mexico-Tenochtitlan
9.3.3. Cities Superimposed on Indigenous Settlements: Cuzco
9.3.4. Urbanism and Evangelism

9.4. Art and Evangelism

9.4.1. The Religious Image as an Instrument of Catechization
9.4.2. Evangelism and Artistic Expression
9.4.3. The Peruvian Viceroyalty

9.5. Vasco de Quiroga's Utopia

9.5.1. Introduction: The Village-Hospitals and Vasco de Quiroga in Michoacán
9.5.2. The Radiocentric Cathedral of Patzcuaro
9.5.3. The Jesuit Reductions of Paraguay

9.6. The Religious Orders and the Great 16th Century Mexican Convents

9.6.1. Introduction
9.6.2. Evangelizing Orders
9.6.3. The Convent-Fortress
9.6.4. Mural Painting
9.6.5. The Franciscan Missions in New Mexico, Texas and California

9.7. Artistic Crossbreeding

9.7.1. Crossbreeding as Artistic Phenomenon
9.7.2. Caste Charts
9.7.3. Iconography and Indigenous Myths
9.7.4. The Dynamic of the Symbols
9.7.5. Coincidences
9.7.6. Substitution
9.7.7. Survival
9.7.8. Crossbreeding in Fine Arts
9.7.9. Sculpture

9.8. The Antilles and Caribbean Lowlands

9.8.1. Domestic Architecture
9.8.2. The Urban House
9.8.3. Religious Architecture
9.8.4. Military Architecture
9.8.5. Fortified Maritime and Commercial Cities
9.8.6. Santo Domingo
9.8.7. Painting and Sculpture
9.8.8. Applied Arts

9.9. The Mexican Highlands and the Highlands of Central America

9.9.1. Mexican Art
9.9.2. Mexico City
9.9.3. Puebla and Its School
9.9.4. Art in the Guatemalan Kingdom
9.9.5. Fine arts and Silverware

9.10. The Coast and The Highlands

9.10.1. Colombian and Ecuadorian Highlands
9.10.2. Quiteño Art
9.10.3. Sculpture
9.10.4. Lima and the Peruvian Coast
9.10.5. The Mestizo Baroque
9.10.6. The Mestizo Style and Architectural Decoration in the Andean Baroque Period
9.10.7. Cuzco
9.10.8. The Cuzco School, Indian Painters and Mestizo Painting
9.10.9. El Collao, Arequipa and Colca Valley

Module 10. Art in the Americas II

10.1. Enlightenment and the Academic Spirit

10.1.1. Historical Context
10.1.2. Academia
10.1.3. Manuel Tolsá
10.1.4. Francisco Eduardo Tresguerras
10.1.5. Guatemalan Neoclassicism
10.1.6. Painting: Rafael Ximeno and Planes y Pedro Patiño Ixtolinque

10.2. The Early Years of Independent America

10.2.1. The Consequences
10.2.2. Martín Tovar and Tovar
10.2.3. José Gil de Castro

10.3. Scientific Expeditions

10.3.1. Introduction
10.3.2. The Traveler Artist
10.3.3. Johannes Moritz Rugendas
10.3.4. The Traveler Photographers

10.4. Under the Sign of Academia

10.4.1. Stages
10.4.2. Pelegrín Clavé, Manuel Vilar and Juan Cordero
10.4.3. The Different Painting Genres

10.5. Architecture and Sculpture

10.5.1. Two Directions after Independence
10.5.2. Architectural Typologies
10.5.3. Iron Architecture
10.5.4. Sculpture

10.6. Popular Painting

10.6.1. Introduction
10.6.2. The Votive Offerings and the Ritual Art of the Child Death
10.6.3. Painting Typologies
10.6.4. José Guadalupe Posada

10.7. The Irruption of the Vanguard

10.7.1. Introduction and Some Artists
10.7.2. The Hipano-American Vanguard
10.7.3. The Brazilian Vanguard
10.7.4. The Cuban Vanguard
10.7.5. Indigenism

10.8. Muralism

10.8.1. Introduction
10.8.2. Diego Rivera
10.8.3. David Alfaro Siqueiros
10.8.4. José Clemente Orozco

10.9. Surrealism and Constructivism I

10.9.1. Introduction
10.9.2. Frida Kahlo
10.9.3. Remedios Varo

10.10. Surrealism and Constructivism II

10.10.1. Leonora Carrington
10.10.2. María Izquierdo
10.10.3. Wifredo Lam

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