Scottish heraldry

Royal Coat of Arms of Scotland (prior to 1603)
Tradition	Gallo-British
Governance	Court of the Lord Lyon
Chief Officer	W. David H. Sellar, Lord Lyon King of Arms

Heraldry in Scotland, while broadly similar to that practised in England and elsewhere in western Europe, has its own distinctive features. Its heraldic executive is separate from that of the rest of the United Kingdom.

Executive[link]

The bearings that may be used by the Lord Lyon King of Arms, the coat being impalable with the office holder's personal coat.

The Scottish heraldic executive is separate from that of the remainder of the United Kingdom and is vested in the Lord Lyon King of Arms.^[1] The earliest reference to the Lyon, as such, dates to the reign of Robert the Bruce in 1318, although with respect to certain of his functions he is considered the successor of royal officials dating to ancient Celtic times.^[2] The Lord Lyon exercises general jurisdiction over all matters armorial in Scotland and serves as a Judge of the Realm. He also decides on questions relating to family representation, pedigrees and genealogies.^[1] In addition, he supervises all state, royal and public ceremonies in Scotland.^[3] The Lord Lyon also asserts the right to decide who is Head of the Clan or Chief of the Family or Name,^[4] although his authority to determine chiefships has been challenged.^{[Note 1]}

In carrying out his duties, he has been assisted, in recent times, by a staff of three heralds and pursuivants along with a Lyon Clerk and Keeper of the Records.^[2] The present Lyon Clerk, Elizabeth Roads MVO, who is also Snawdoun Herald, is the first woman ever to serve as an Officer of Arms in the United Kingdom.^[9]

Pursuant to Chapter 47 of the Act of 1672,^[10] the Lord Lyon is empowered to grant arms to "vertuous [virtuous] and well deserving persons."^[11] According to Innes of Learney: "A [Scottish] coat of arms is the outward indication of nobility and arms are officially described as 'Ensigns of Nobility'. A patent of arms is . . . a Diploma of Nobility . . . ."^[12] Clarifying this statement, a later writer on Scottish heraldry has noted: "Technically, a grant of arms from the Lord Lyon is a patent of nobility; the grantee is thereby 'enrolled with all nobles in the noblesse of Scotland'. This is does not constitute a peerage or any title. It is a social distinction, and has no legal privileges  ."^[13]

Principles[link]

The principal function of heraldry, whether personal or corporate, is to symbolise the identity of the owner of the armorial bearings. In Scotland the Clan, the Family, and the Name have survived as significant entities in the social organization of Scottish society.^[4]

In Scottish heraldry there is no such thing as a "family coat of arms". Junior members of a family are assigned specific and relevant differences to the armorial bearings of an ancestor.^[4]

Scottish heraldry operates under the proposition that all those who share the same surname are related, however distantly. Consequently, where a coat of arms for the head of a family already exists, new grants of arms to individuals with the same surname will generally be variations on those arms.^[14] "[T]he salient feature of Scottish heraldry is that, as compared with England and other countries, the basic coats of arms are relatively few in number, but numerous differenced versions of each basic shield exist. The basic, or simple undifferenced arms and crest, are the property, not of the 'family', but of the 'Chief' of each clan or house …."^[15]

The earliest existing examples of Scots heraldry are Stewart coats of arms from seals of the last half of the 12th century and the first half of the 13th, and show the fess chequy, which is still a feature of 21st century Scots heraldry.^{[13][Note 2]}

The Lord Lyon King of Arms has a vital and continuing influence on the family organization in Scotland. Depending on the terms of the original grant, armorial bearings are succeeded to by the heir—who may be the heir male, the heir female, or the heir by tailzie (an heir nominated within the blood relationship).

Shield

Field

Supporter

Supporter

Motto (Scotland)

Crest

Torse

Mantling

Helm

Coronet

Compartment

Order

Ordinaries

Common

charges

Motto

Achievement elements

Characteristics[link]

Mottoes[link]

One of the most obvious visual distinctions of Scottish heraldry from heraldic styles used elsewhere is that the scroll on which the motto is displayed is almost always positioned above the crest in Scottish bearings, as depicted in the illustration of the Royal Coat of Arms of Scotland above.^{[16][Note 3]} This difference is more than merely visual, however. In Scottish heraldry mottoes are considered a component of the grant of arms and can be altered only by re-matriculating the arms. In English heraldry, while a motto is usually illustrated in the patent of arms, with very rare exceptions, it is not included in the verbal grant of armorial bearings. Consequently, English mottoes may be changed at will.^[18]

The Stodart system of differencing the coats of arms of cadet branches of a family

Cadency[link]

Another difference between Scottish and English heraldry that may be discerned from the appearance of the shield itself lies in the systems employed to distinguish younger sons of an armiger, known as cadency. English heraldry uses a series of small symbols, termed brisures, to differentiate between the senior representative of an armigerous family and junior lines known as "cadet branches". In Scotland, except for the line of the immediate heir, this function is served by a series of bordures (borders) surrounding the shield of varying, specified colors and designs, named the "Stodart" system.^[19] In Scottish practice brisures function only as "temporary house marks of cadency used by children . . . without formal authority of the Lyon Office, until they establish houses of their own."^[13]

Badges[link]

Heraldic badges are treated differently in Scottish heraldic practice than in English armoury. A badge may be defined as "An armorial device, not part of the coat of arms, but . . . available to an armigerous person or corporation for the purpose of identification."^[20] Badges may consist of no more than a charge from the shield of arms, but others were emblems adopted for their hidden meaning or in allusion to a name, title or office.^[19] In England, the granting of badges to armigers by the College of Arms has become "commonplace" in recent years.^[21]

A crest badge suitable for a member of Clan Maclachlan.

In Scottish heraldry, however, the grant of badges is limited to those categories of individuals who may be expected to have a "numerous following", that is to say a significant body of adherents or supporters. Generally badges are awarded only to peers, the baronage, clan chiefs and chieftains and the older landed houses and only when the Lord Lyon is satisfied that the grant of a badge is warranted on practical grounds.^[22] Corporate bodies, such as local governments, schools, companies or sports clubs may also obtain badges as a means for their members to display their affiliation.^[17]

Scottish heraldry, however, also recognizes a unique form of badge, the crest badge.^[23] In the case of an armiger, this device is composed of his crest, encircled by a plain circle on which is inscribed the individual's motto. As a mark of allegiance to their chief, members of a clan are permitted to wear a clansmen's badge, consisting of their chief's crest surrounded by a strap and buckle device on which the chief's motto is inscribed.^[24]

Crests[link]

In English heraldic practice the crest, the device or emblem that appears above the helmet or chapeau in a full coat of arms, should not duplicate any crest previously granted. Just as each shield should be unique, so too should each crest.^[25] In Scotland, however, it is permissible, and not uncommon, for two or more different families to bear the same crest.^[26] As Scottish heraldry joins the crest and motto in the crest badge, however, the combination of crest and motto should, in each case, be unique.

Heiresses[link]

In traditional heraldic practice coats of arms pass through the male line. Where a woman's father bears arms and, at his death, there are no surviving sons or surviving children of sons, the woman is an heraldic heiress and can transmit her father's arms to her descendants.^[27] In England, if there is more than one surviving daughter, each transmits her father's arms on equal terms.^[28] In Scotland, only the eldest surviving daughter transmits her father's undifferenced arms to her offspring.^[29]

Quarterings[link]

In heraldry a basic shield can be divided into four, essentially equal, sections or quarterings. In recent times this typically occurs as the result of the marriage of an armiger to an heraldic heiress.^[30] English heraldry appears to put no limit on such divisions, which continue to be termed "quarterings" no matter how many more are added.^{[31],[Note 4]} Scottish practice favours a simplicity of design and permits each quarter to itself be quartered, but no more. A Scottish shield, therefore, is limited to sixteen quarterings.^[33]

Important works[link]

"Scotland has no ancient rolls of arms as in England and its earliest document of any importance is the Armorial de Gelré 1369-1388 preserved in Brussels - a European manuscript with a section on Scottish arms." The first truly Scottish armorial dates only from 1508.^{[34][Note 5]}

Two of the oldest and most important works on the subject of Scottish heraldry are The Science of Herauldry by George Mackenzie of Rosehaugh, first published in 1680, and A System of Heraldry by Alexander Nisbet, first published in 1722.^[35] Mackenzie is regard as legal authority in matters of Scottish heraldry.^[36] Whether Nisbet is likewise regarded as of "institutional authority" is unclear,^{[Note 6]} but "his work has been treated with very great respect since it appeared in 1722."^[36]

Perhaps the most celebrated work of Scottish heraldry is the Public Register of all Arms and Bearings in Scotland, known more simply as the Public Register or even Lyon Register. It has been said that: "There is no better evidence of the diversity and splendour of heraldic art anywhere in the world than is to be found in the [Lyon Register]. . . ."^[38] The work was created under the authority of the Statute of 1672, which provided that it record all arms properly registered with the Lord Lyon. The first volume was bound in 1677 and it has been faithfully maintained from that time.^[39] Each of the series of massive volumes contains 120 pages of vellum, and it includes the work of some of Scotland's greatest heraldic artists over nearly three and one-half centuries.^[40]

Civic heraldry[link]

Scotland's civic heraldry is particularly rich with burgh arms from the 15th century still in use in the 21st.

The earliest civic heraldry seems to have been the arms of Dundee^[41] which date back six hundred years.

In January 2008 a petition to matriculate armorial bearings for the City of Inverness was refused by Lord Lyon King of Arms on the grounds that there is no legal persona to which arms can be granted.^[42]

Notes[link]

1. ^ "The jurisdiction of the Court of the Lord Lyon in questions of precedence^[5] or clan chiefships^[6] was rejected by the Court of Session, but Lord Lyon does not regard those decisions as being final,^[7] and continues to exercise this jurisdiction in defiance of the Court of Sessions [sic]."^[8] See Scottish clan chief.
2. ^ See the arms of Stuart of Yeochrie and those of Stewarton Community Council.
3. ^ In Scottish heraldry mottoes are placed below the shield only when there are two or more mottoes, in which case one is placed above the crest, the other below the shield, or where there is no crest, as is common with corporate arms.^[17]
4. ^ The "record holder" appears to be an early nineteenth century painting of the arms of Temple-Nugent-Brydges-Chandos-Grenville, the only British family to have used a five-part surname. The 719 quarterings depicted include ten variations of the English royal arms, the arms of the Spencer family of the late Princess of Wales and those of many other of the most prominent families of English history.^[32]
5. ^ The blazons of armorial rolls containing Scottish arms can currently be found under the heading The Mitchell Rolls on the website of the Heraldry Society of Scotland.
6. ^ Writing as Lord Lyon in the preface to the 1984 reprinted edition of Nisbet's System of Heraldry, Innes of Edingight stated that "the work of Alexander Nisbet has not been received as of institutional authority."^[36] In 1991, however, Sir Crispin Agnew of Lochnaw, Rothesay Herald, characterized both Nisbet and MacKenzie of Rosehaugh as "institutional writers." Agnew has further specified that the second volume of Nisbet's work is considered "suspect" because of numerous, erroneous insertions by an unknown writer.^[37]

References[link]

Works referenced[link]

• Agnew of Lochnaw, Sir Crispin. "Heraldic Bibliography." The Highlander. (March/April 1991).
• Brooke-Little, J.P. (revisor). Boutell's Heraldry. Frederick Warne & Co., Ltd., London, 1970.
• Burnett, Charles J and Dennis, Mark D. Scotland's Heraldic Heritage; The Lion Rejoicing The Stationery Office, Edinburgh, 1997.
• Cox, Noel. "Commonwealth Heraldic Jurisdiction." The Coat of Arms (Autumn 2005).
• Dennis, Mark. Scottish Heraldry: An Invitation Heraldry Society of Scotland, Edinburgh, 1999.
• Fox-Davies, A.C. A Complete Guide to Heraldry. (revised, Brooke-Little, J.P.) Orbis Publishing Limited, London, 1985 (originally published 1909). (of dubious authority and accuracy in matters Scots)
• Friar, Stephen (editor). A Dictionary of Heraldry. Harmony Books, New York, 1987.
• Friar, Stephen and Ferguson, John. Basic Heraldry. The Herbert Press, London, 1993.
• Innes of Learney, Sir Thomas (revisor Innes of Edingight, Malcolm R.). Scots Heraldry. Third edition. Johnston & Bacon, London & Edinburgh, 1978 (originally published 1934).
• Innes-Smith, Robert. An Outline of Heraldry in England and Scotland. Pilgrim Press Ltd., Derby, 1980.
• Nisbet, Alexander A System of Heraldry. T & A Constable, Edinburgh, 1984, first published 1722.
• Slater, Stephen. The Complete Book of Heraldry. Lorenz Books, London, 2002.
• Way of Plean, George and Squire, Romilly. Collins Scottish Clan and Family Encyclopedia. HarperCollins, Glasgow, 1994

Additional bibliography[link]

• Mackenzie of Rosehaugh, G. Scotland's Herauldrie: the Science of Herauldrie treated as a part of the Civil law and Law of Nations. Heir of Andrew Anderson, Edinburgh, 1680
• McAndrew, Bruce A. (2006). Scotland's Historic Heraldry. Boydell Press. ISBN 978-1-84383-261-4. http://books.google.com/?id=QFkI3G31HTMC 
• Moncreiffe of Easter Moncrieffe, Iain (Kintyre Pursuivant) & Pottinger, Don (Herald Painter). Simple Heraldry - Cheerfully Illustrated. Thomas Nelson and Sons, Edinburgh and London, 1953
• Paul, Sir James Balfour (Lord Lyon King of Arms). An Ordinary of Arms Contained in the Public Register of All Arms and Bearings in Scotland. Edinburgh: W. Green & Sons, 1903
• Reid of Robertland, David and Wilson, Vivien. An Ordinary of Arms, volume 2 [1902-1973], Lyon Office, Edinburgh 1977
• Schweitzer, Leslie A and Hunter of Montlawan, David. Annotated Bibliography of Scottish Heraldic Materials - see at "Heraldry Society of Scotland website". http://www.heraldry-scotland.co.uk/bibliography.html. 
• Stevenson, John H and Wood, Margaret: Scottish Heraldic Seals (3 vols.), Glasgow, 1940
• Urquhart, R M. Scottish Burgh and County Heraldry Heraldry Today, London, 1973; Scottish Civic Heraldry: Regional - Islands - District Heraldry Today, London, 1979; Scottish Civic Heraldry 2 Scottish Library Association, Hamilton, 2001

External links[link]

Wikimedia Commons has media related to: Scottish heraldry

• Court of the Lord Lyon website
• The Public Register of All Arms and Bearings in Scotland 1672-1907 online (registration required)
• Heraldry Society of Scotland website and forum
• www.scottish-heraldry.co.uk
• www.rtbot.net/Lord_Lyon_King_of_Arms

Look up scottish in Wiktionary, the free dictionary.

Scottish may refer to something of, from, or related to Scotland, a country in northern Europe, part of the United Kingdom since 1707.

Scottish may also refer to:

Languages[link]

• Scottish English, the varieties of English spoken in Scotland
• Scottish Gaelic, a Celtic language native to Scotland
• Scots language, a language variety spoken in Lowland Scotland and parts of Ulster

People[link]

• Scottish people
• List of famous Scottish people

Culture[link]

• Scottish American
• Scottish national identity

Other uses[link]

• Scottish cuisine
• Schottische, a dance
• Scottish (card game), a Shedding-type card game, also known as shirts and boots
• Scottish Crofting Foundation
• Scottish Reformation, 1560
• "Scottish" Symphony, Mendelssohn's third symphony
• Scottish Television, currently known as STV, the ITV licensee for Central and Northern Scotland
• Scottish Terrier dog breed

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (December 2010)

Graham Stewart (born 1975 in Perth, Scotland) is a Scottish broadcaster who currently presents The Business on BBC Radio Scotland.^[1] He was previously a presenter on Edinburgh radio station Talk 107. Stewart is also a presenter of the shorter Reporting Scotland programmes.

References[link]

This biographical article related to Scottish television people is a stub. You can help Wikipedia by expanding it. v t e

Dan Fogelberg
Fogelberg in 1974.
Background information
Birth name	Daniel Grayling Fogelberg
Born	(1951-08-13)August 13, 1951 Peoria, Illinois, U.S.
Died	December 16, 2007(2007-12-16) (aged 56) Deer Isle, Maine, U.S.
Genres	Rock, folk rock, soft rock
Occupations	Musician
Instruments	Vocals, guitar, bass, piano, mandolin
Years active	1968–2007
Labels	Columbia, Epic, Giant, Mailboat
Associated acts	Fools Gold, Tim Weisberg
Website	danfogelberg.com

Daniel Grayling "Dan" Fogelberg (August 13, 1951 – December 16, 2007) was an American singer-songwriter, composer, and multi-instrumentalist, whose music was inspired by sources as diverse as folk, pop, rock, classical, jazz, and bluegrass music. He is best known for his 1980 hit "Longer" and his 1981 hit "Leader of the Band".

Early life and family[link]

Dan Fogelberg, the youngest of three sons, was born in Peoria, Illinois, the son of Margaret (née Irvine), a classically trained pianist, and Lawrence Peter Fogelberg, a high school band director, who spent most of his career at Peoria's Woodruff High School and Pekin High School.^[1] Dan Fogelberg's mother was a Scottish immigrant, and his father was of Swedish descent.^[2] His father would later be the inspiration for the song, "Leader of the Band". Using a Mel Bay course book, Dan taught himself to play a Hawaiian slide guitar that his grandfather gave to him; he also learned to play the piano. At age 14 he joined a band, The Clan, which covered The Beatles. His second band was another cover combo, The Coachmen, who in 1967 released two singles, written by Fogelberg, on Ledger Records: "Maybe Time Will Let Me Forget" and "Don't Want To Lose Her."

Early musical career[link]

After graduating from Woodruff High School in 1969, Fogelberg studied theater arts and painting at the University of Illinois at Urbana-Champaign, while playing in local campus venues with the folk-rock band, "The Ship".^[3] He began performing as a solo acoustic player in area coffeehouses, including the Red Herring Coffeehouse, where he made his first solo recordings as part of a folk festival recording in 1971. He was discovered that year by Irving Azoff. Fogelberg and Azoff—who started his music-management career promoting another Champaign-Urbana act, REO Speedwagon—moved to California to seek their fortunes. Azoff sent Fogelberg to Nashville to hone his skills, where he became a session musician and recorded his first album, with producer Norbert Putnam. In 1972, Fogelberg released his debut album Home Free to lukewarm response. He performed as an opening act for Van Morrison. Fogelberg's second effort was much more successful—the 1974 Joe Walsh–produced album Souvenirs and its song "Part of the Plan" became Fogelberg's first hit.

Marriages[link]

Fogelberg was married three times: to Maggie Slaymaker, a dancer from Nashville, from 1982–1985; to Anastasia Savage, a nurse and artist from Louisiana, from 1991–1996; and to musician Jean Marie Mayer, from April 7, 2002 until his death in late 2007.^[4][5][6] He had no children by any of his marriages.

Musical career[link]

After Souvenirs, Fogelberg released a string of gold and platinum albums, including Captured Angel (1975) and Nether Lands (1977), and found commercial success with songs such as "The Power of Gold." His 1978 Twin Sons of Different Mothers was the first of two collaborations with jazz flutist Tim Weisberg. 1979's Phoenix reached the Top 10, with "Longer" becoming a #2 pop hit (and wedding standard) in 1980. The track peaked at #59 in the UK Singles Chart - his sole entry in that listing.^[7] The album reached #42 in the UK Albums Chart, likewise Fogelberg's only entry there.^[7] This was followed by a Top 20 hit "Heart Hotels."

The Innocent Age, released in October 1981, was Fogelberg's critical and commercial peak. This double-album song cycle included four of his biggest hits: "Leader of the Band," "Hard to Say," "Run for the Roses," and "Same Old Lang Syne," based on a real-life accidental meeting with a former girlfriend. Fogelberg drew inspiration for The Innocent Age from Thomas Wolfe's novel Of Time and the River. A 1982 greatest hits album contained two new songs, both of which were released as singles: "Missing You" and "Make Love Stay." In 1984, he released the album Windows and Walls, containing the singles "The Language of Love" and "Believe in Me".

Fogelberg released High Country Snows in 1985. Recorded in Nashville, it showcased his, and some of the industry's best, talent in the bluegrass genre. Vince Gill, Ricky Skaggs, Doc Watson, Jerry Douglas, David Grisman, Chris Hillman, and Herb Pedersen were among those who contributed to the record. In a world he defined as "life in the fast lane," Fogelberg described the music as "life in the off-ramp." In late 1985, Fogelberg switched gears and took to the road with a group of musician friends, including Joe Vitale and Rick Rosas, playing blues in small clubs throughout Colorado as Frankie and the Aliens, covering songs by Cream and Muddy Waters, among others.^[8] 1987 heralded a return to rock with Exiles, an album that contained a song, "What You're Doing," a throwback to the old Stax Records sound made famous in Memphis during the 1960s. While touring in New England early in 1988, he came across an issue of Nine-O-One Network Magazine, which was published in Memphis, and he called the publisher, James L. Dickerson, and an interview resulted that landed him on the cover of the April 1988 issue. Known for his many relationship songs, he confessed that he hadn't had a lot of relationships and wrote based on his observations of other people's relationships.

River of Souls, released in 1993, was Fogelberg's last studio album for Sony Records. In 1997, Portrait encompassed his career with four discs, each highlighting a different facet of his music: "Ballads," "Rock and Roll," "Tales and Travels", and "Hits." In 1999, he released a Christmas album, with his release of First Christmas Morning, and in 2003, Full Circle showcased a return to the folk-influenced 1970s soft rock style of music.

Final years[link]

In May 2004, Fogelberg was diagnosed with advanced prostate cancer. He underwent therapy and achieved a partial remission, which did not eliminate his cancer but reduced it and stopped its spread. On August 13, 2005, his 54th birthday, Fogelberg announced the success of his cancer treatments. He said that he had no immediate plans to return to making music but was keeping his options open. After battling prostate cancer for three and a half years, Fogelberg succumbed to the disease at the age of 56, on December 16, 2007, at his home in Deer Isle, Maine with wife Jean by his side.^[9]

Soon after his death, his widow announced that a song written and recorded for her by Fogelberg for Valentine's Day 2005, "Sometimes a Song", would be sold on the Internet and that all proceeds would go to the Prostate Cancer Foundation. The song was released on Valentine's Day 2008 and was also included in a collection of eleven previously unpublished songs (nine originals) on a CD released in September 2009 titled Love In Time.^[10]

In tribute to Fogelberg and the entire Fogelberg family, the city of Peoria renamed Abington Street in the city's East Bluff neighborhood "Fogelberg Parkway". The street runs along the east side of Woodruff High School, Fogelberg's alma mater, and where his father was a teacher and bandleader. "Fogelberg Parkway" ends at the intersection of N. Prospect and Frye, which is the location of the convenience store where Fogelberg ran into his old high school sweetheart one Christmas Eve, a chance encounter made famous in the song "Same Old Lang Syne"^[9]

In the fall of 2009, the Peoria City Council granted permission to a group of Dan Fogelberg fans to begin fund-raising efforts to create a permanent memorial to Fogelberg in his hometown of Peoria. The memorial garden, placed in Riverfront Park, was dedicated in a ceremony held on August 28, 2010.^[9]

Discography[link]

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Dan Fogelberg

• Dan Fogelberg.com - official website
• Dan Fogelberg at Find a Grave
• The Power of Gold video used in the ABC 1980 Olympics

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (September 2010)

Thomas Joshua Cooper (born 1946, San Francisco) is an American photographer of Cherokee descent. He is considered amongst the premier contemporary landscape photographers.^[1]

Cooper received his bachelor’s degree from Humboldt State University in Arcata, California in 1969. In 1972, he received his master’s in photography from the University of New Mexico.^[2]

Cooper was inspired by the works of the photographers of the f/64 group of the 1930s and 1940s, such as Ansel Adams. Cooper states, "I'll live and die by the late works of Edward Weston, Alfred Stieglitz and Paul Strand, and I think Robert Frank is the most extraordinary living photographic picture-maker."^[3]

Cooper loves being a photographer, but is frustrated by some of the vocabulary that is used in the field. He indicates, "I hate the words "snap", "shoot" and "take" when it comes to making photographs. Everything I do is very seriously built up. They are 'made' pictures."^[3]

Not only a photographer, Cooper is a poet and has written a few Haiku books. Most of them are inspired by nature and really reflect his camera work, e.g. About water, trees, the world and sometimes even animals.

Cooper travels all over the world, discovering and exploring places people only dream of going. He has discovered recently named 3 places on the map- Catherine Rock, LISA Island and Landout point. these places will be marked in 2009s new maps.^{[citation needed]}

He currently resides in Glasgow, Scotland, where he founded the Fine Art Photography Department at the world-renowned Glasgow School of Art in 1982.^{[citation needed]} He is now a senior researcher in the faculty of Fine Art, holding a Professorial role and Head of Department.^[4] He is married to Catherine Alice Mooney and together they have two daughters, Laura Indigo Cooper and Sophie Alice Cooper.

In 2009 Cooper achieved a Guggenheim Fellowship in Photography.^[5]

He is represented by The Pace Gallery, New York.

Awards[link]

• 1970, John D. Phelen Award in Art and Literature .^[2]
• 1994, Major Artists Award, Scottish Arts Council, Edinburgh, Scotland^{[citation needed]}
• 1999, Major Artist’s Award, Lannan Foundation, Santa Fe, New Mexico^{[citation needed]}

Museums[link]

Cooper’s works are held by over fifty^[6] museums and public collections, among them:^[1]

• Art Institute of Chicago, Chicago, Illinois
• Denver Art Museum, Denver Colorado^[7]
• The J. Paul Getty Museum, Los Angeles, California
• Museum of Fine Arts, Houston (MFAH), Houston, Texas
• Los Angeles County Museum of Art (LACMA), Los Angeles, California
• Carré d'Art (Nîmes Museum of Contemporary Art), Nîmes, France
• Princeton University Art Museum, Princeton, New Jersey
• The Tate Gallery, London, England
• The Victoria and Albert Museum, London, England

Notes[link]

Further reading[link]

• Cotter, Holland (28 June 1996) "Art in Review; Thomas Joshua Cooper" The New York Times
• Cullen, Fintan and Morrison, John (editors) (2005) "A Shared Legacy: Essays on Irish and Scottish Art and Visual Culture Ashgate, Aldershot, Hants, England, ISBN 0-7546-0644-9
• Yau, John (2006) Ojo de agua - Thomas Joshua Cooper(Exhibition Ojo de Agua - Eye of the Water, at Pace Wildenstein, 1 December 2006 - 13 January 2007) Pace Wildenstein Publications, New York, ISBN 1-930743-63-7

External links[link]

• Exhibition at ARTseeninSOHO
• The Pace Gallery
• Galerie Thomas Schulte
• Galerie Thomas Schulte

Cooper loves being a photographer, but is frustrated by some of the vocabulary that is used in the field. He indicates, "I hate the words "snap", "shoot" and "take" when it comes to making photographs. Everything I do is very seriously built up. They are 'made' pictures."

Thomas Joshua Cooper wants and wanted to be a photographer for his whole life. Cooper avoids some of the vocabulary that is used in the field: "snap", "shoot" and "take" when it comes to making photographs. He indicates: "Everything I do is very seriously built up. They are 'made' pictures." Although you do not see immediately, that his pictures made up, because you need to have time to look at these images longer.