Thesis (Ph. D.)--City University of New York, 1988. / Typescript. Includes bibliographical references.

In the 1950s, a group of African-American artists based around Ft. Pierce, Florida, began selling their landscapes of palm hammocks, colorful sunsets, and Evergladian fauna to tourists traveling south to the Sunshine State. Mass-produced in the artists' backyards, these subtropic landscapes found their way into Florida's motels, hotels, banks, and office buildings as well as private homes. The regional art form fell out of favor until the mid-1990s when an art aficionado coined the name "Highwaymen." Since then a resurgence of interest has brought new fame to the surviving members of the group. Along with this modern interest in the Highwaymen comes another facet of the subject : Several Highwaymen have sons and daughters who paint. Do the children paint like their parents? Are the children riding on the coattails of their parents or have they developed their own original style? Is the legacy of the Highwaymen continued in their progeny? / by Elissa Rudolph. / Thesis (M.A.)--Florida Atlantic University, 2005. / Includes bibliography. / Electronic reproduction. Boca Raton, FL : 2005 Mode of access: World Wide Web.

In 1800, Gilbert Stuart began three paintings of his friend, republican writer, Sarah Wentworth Apthorp Morton--the Worcester, Winterthur, and Boston portraits. While Morton has been remembered more for a tragic personal family scandal than for her literary endeavors, Stuart's provocative images acknowledged her as both a poet and an intellect. His portraits presented a progressive and potentially controversial interpretation of his sitter--the lovely and learned Morton--by prioritizing the writer's life of the mind rather than her socially prescribed life in the world. This study reconstructs the circumstances by which Stuart composed the group of Morton paintings that culminate in his unorthodox Worcester rendering through which he ultimately depicted Morton as the first woman of ideas in American art. Supported by close readings of her work, this dissertation illuminates both the course and depth of the exceptional personal and professional relationship between Morton and Stuart. The paths of the two republican figures crossed at several historic junctures and is highlighted by the interconnectivity of their work. Most significantly, the Stuart portraits represent an ideal lens through which to view Morton's life and work as well as to follow the Boston native's transformation into one of America's earliest women of ideas. / text

Thesis (Ed. D.)--Illinois State University, 1973. / Title from title page screen, viewed Oct. 13, 2004. Dissertation Committee: Hugh W. Stumbo (chair), Jack Hobbs, Wilbert M. Leonard II, Max Rennels, Thomas McCain, Mildred Pratt. Includes bibliographical references (leaves 92-94) and abstract. Also available in print.

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