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planegypttours · 6 years

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Sharm El sheikh Excursions

Feast your eyes by the natural beauty and the beautiful landscapes in the splendid city of Sharm El Sheikh via Sharm El sheikh Excursions, Gain a different experience in the vast desert and enjoy the amazing landscapes during the sunshine or the sunrise. Moreover get to know more about the mysterious Egyptian civilization and visit Luxor or Cairo from Sharm el sheikh.

Sharm El Sheikh is the perfect place for a heavenly sunny beach holiday. Enjoy yourself with the amazing sunbathers over the soft sand and get to choose from an infinite range of water sports and desert adventure through Sharm El Sheikh Ras MohamedSnorkeling Trip, watch the crystal clear water, the colored fish, and multi colored coral. Enjoy visiting Sharm El Sheikh which is an international center for aquatic sports, windsurfing, sailing, deep-sea fishing, swimming, snorkeling, and diving.

Get the chance to watch the different types of colorful fish and the charming coral reefs with our try Tiranisland Snorkeling Trip snorkeling at Blue Laguna, beguile your eyes with colored fish as well as coral reefs, Blue Laguna amazing spot for diving too, Snorkeling trip to Tiran Island is stunning trip, enjoy the beauty of the underwater world, warm sun and the massive coral reefs in our exciting tour.

sharm el sheikh excursions allows you to explore the great city of Cairo and visit its famous attractions such as the Giza Pyramids, considered some of the most magnificent man-made structures in history. It contains three pyramids known as Cheops, Chephren, and Mykerinus, constructed during the Pharaonic era, from 2550 to 2490 B.C as massive tombs for the Pharaonic Kings. Visit the Egyptian Museum with Cairo Tour from Sharm El Sheikh by Plane, it is considered to be one of the oldest, most famous, and largest museums in the world. Opening in 1902, it was purpose-built to house the antiquities of Ancient Egyp, meander among Khan El-Khalili.

You can also try LuxorDay Trip from Sharm El Sheikh by Plane by Van and get to visit the historical city of Luxor which was the capital of Egypt during the New Kingdom era. Our program covers all the famous destinations in the city including the priceless treasures located in the East and West Banks of the Nile such as the magnificent temple of Karnak and the impressively decorated tombs of Valley of the Kings.

Don't gamble with your precious vacation, try Alf Leila Wa Leila Sharm El Sheikh, be witness for the stories and sensational music, Unleash your inner and soul while watching the horse show for Bedouin and its fascinating dance, feast your eyes with spectacular oriental belly dancing, it is amazing night you cannot miss, Amuse your eyes with the splendid sky of Sharm El Sheikh via Stargazing Tour and Bedouin Safari, Scout Bedouin simple life as well as their traditions, Ride a Camel at Sharm El Sheikh Desert, enjoy the relish of your Bedouin barbeque dinner in Sharm Desert and more.

One of the best Things to do in Sharm El Sheikh is visiting St. Catherine Monastery and climbing Moses Mountain via Mount Sinai and St. Catherine Tours from Sharm, Entertain your eyes and watch the sunrise at the top of the sacred mountain where Moses has received the Ten Commandments from God with St. Catherine Monastery and Moses Mountain Tour and then visit St. Catherine Monastery which is considered to be one of the oldest monasteries all over the world, built according to the order of the Emperor Justinian between 548 and 565 AD and dedicated to St. Catherine. The Monastery of St. Catherine nowadays is an important landmark of Sinai that has amazing multicultural arts, Russian and Greek icons, marbles, Arab mosaics, large illuminated manuscript and oil paintings, or you can choose St. Catherine and Colored Canyon by Jeep4x4, be amazed of marvelous color rocks, you will be accompanied by an expert guide, amuse your eyes with beautiful landscapes, Visit the fabulous city of Dahab.

Get amazed by the amazement Semi Submarine Tour in Sharm El Sheikh, watch various kinds of colored fish, coral reefs, and amazing sea creatures without getting wet, its stunning tour in sharm el sheikh, catch your dazzling photos under the water.

Between the best Things to do in is Alf Leila Wa Leila Sharm El Sheikh, where you will enjoy the oriental show which allows you to know more about Bedouins life and Pharaohs life, beguile your ears and eyes by watching the spectacular sound and light show with its Egyptian music and amazing dance of horses, Tee off to Sharm EL Sheikh City Tour, Meander between old market in Sharm El Sheikh, Entertain yourself by walking at Neama Bay, visit Soho Square, Moustafa Mosque, As well as Coptic orthodox church, relax and have your dinner at one of the local restaurants in Sharm El Sheikh, it is unforgettable tour you have to try.

Experience gorgeous Tripto Petra from Sharm El Sheikh, catch your dazzling ferry boat to Aqaba, tee off to Petra, Walk through red rose city of Petra, meander between narrow Siq, do not miss the chance to try short horseback riding, visit Qasr Al-Bent and more, Get thrilling adventure at Sharm Desert with Sharm El Sheikh Quad Biking, Scout Sharm Desert, Enjoy the stunning view of the sunset in Bedouin Village, taste Bedouin tea, Drive by your Quad Bike over Sharm El Sheikh Sand, be ready for this amazing adventure.

Sharm El sheikh Excursions

Semi Submarine Sharm El Sheikh

Overview:

Explore underwater world with Semi Submarine Sharm El Sheikh, watch various kinds of colored fish, coral reefs, and amazing sea creatures without getting wet, its stunning tour in sharm el sheikh, catch your dazzling photos under the water, it is memorable tour.

Itinerary:

Plan Egypt Tours delegate will pick you up from your hotel in Sharm, he will escort you to your Submarine, check into your submarine, scout the fascinating underwater world of the red sea without getting wet through large panoramic window which will allow you to watch variety of colored fish as well as beautiful coral reefs, it is astonishing view, do not forget your Camera to snap your memorable Photos, finally at the end of your Sharm El Sheikh Submarine Tour Plan Egypt Tours delegate will escort you back to your hotel in Sharm.

Included:

Pick up from your hotel in Sharm

Transfer to the Submarine by air-conditioned vehicle

Excursion to the Submarine as mentioned at the above excursion

Entrance fees to the Submarine

English speaking escort

A bottle of Mineral water to each person

All Transfers in Sharm by air-conditioned vehicle

All service charges and taxes

Transfer back to your hotel in Sharm at the end of your Excursion

Excluded:

Optional tours

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16thcenturyart · 7 years

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Hans Holbein

http://fod.infobase.com/p_ViewVideo.aspx?xtid=59671

Hans Holbein has claims to be the greatest portrait painter who ever wielded a brush. A central figure in the spread of the Renaissance in northern Europe, whose deftness and pinpoint accuracy captured the spirit and the faces of his age, an artist whose roots were Continental, but he became the father of English painting.

Hans Holbein the Younger was born in Germany in the imperial capital of Augsburg in 1498. He came from an artistic family.

His father, Hans Holbein the Elder, was one of the leading artists of his generation in southern Germany. And his elder brother, Ambrosius, was already showing a precocious talent for drawing.So as soon as the two boys could be made use of, they joined their father's workshop.

But Augsburg was a lot more limited artistically. But further afield, particularly along the Rhine, to the south, things looked a lot more promising.And so in 1515, Hans, together with his elder brother, came here to the city that he effectively put on the European artistic map, Basel.

It was an attractive place for a young artist on the make, a thriving commercial city on the Rhine. It boasted a newly established university and a flourishing collection of printing presses. Books, pamphlets, and title pages all need illustration, which Holbein was eager to supply.

He was quickly accepted into Basel's intellectualcircles, led by the humanist scholar DesideriusErasmus. And it was a version of Erasmus' is InPraise of Folly, which gave the young artist anopportunity to show his skills with thecommission to provide illustrations in the marginof the celebrated satirical text, which analyzedhuman behavior and weakness.

When he was 18, Holbein got his first, illustriousportrait commission to do a picture of the newlyelected mayor of Basel, Jakob Meyer von Hasen,and his wife, Dorothea. Now this is a veryinventive picture. For a start, it's official. He's justbeen elected mayor. But the two figures are dressed relatively informally.

But also, it's a double portrait that has twodistinct images, who are separated and yet they're bound together by the same architecturaldetail in the background and a consistent lightsource that casts a shadow, in here, from theright, that cast shadows on the architecturaldetail, there and there.

So what we have is two figures, who are unifiedbut, at the same time, their own individuality isproclaimed. With Holbein, even from this stage,the detailing is extraordinary. And you look at therings, numerous rings on the mayor's fingers. Itlooks like a knuckle duster to our eyes. Butactually, it's a sign of his own prosperity.

He's a financier. He clutches a coin as a symbol ofthat but also symbolizing the fact that Basel hasjust been given permission to mint coins. He alsopoints towards his wife in a gesture of love.

In a way, it's a rather unglamorous portrait. Thebackground and the detailing is lavish. But thesetwo figures are certainly not made to lookparticularly attractive. It's as if Holbein haspainted them as they are or as they were. ButHolbein's also making his own mark.

And for the first time, he signs his work, hisinitials, HH, and the date, 1560, and a shield or ascroll surrounded by acanthus leaves as if he'sthrowing off the shackles of his apprenticeshipand emerging for the first time as a fully fledgedartist.

And in fact, from this moment on, his career takesoff. He gets a commission from the mayor todecorate the Basel council chamber, which issubsequently destroyed. But from then on in,other portrait commissions also roll in, includingthis one, of Boniface Amerbach, a professor of lawat Basel University.

This was an important commission for Holbein,for not only was Amerbach a close friend ofErasmus, but he became an important collector ofHolbein's works. Here it's clear that his approachwas evolving, a rare, square format, with alandscape adding depth to the image, and thepainting containing an inscribed panelproclaiming its own merits.

It reads, "I may be painted, unreal, but I'm notinferior to life. I am my master's true likeness ashe was at eight times three years."

Holbein's growing confidence stemmed in partfrom his growing acceptance in Basel, where he was made a master of the guild of painters. Hewas also granted citizenship, two years later, afterhis marriage to a local woman, Elsbeth Schmid,with whom we would have four children.

Holbein also began to turn his attention toreligious images, both for public and privatedevotion. This altarpiece, showing eight episodesof Christ's Passion, was begun by Holbein in 1524,some 7 years after an Augustinian monk andscholar, called Martin Luther, nailed his 95 Thesesto the door of the castle church in Wittenberg,railing against the sale of indulgences, or pardonsfrom sin, by the Catholic Church and triggering amovement, which began with the proposedreform of the papacy and ended up splitting theChurch, otherwise known as the ProtestantReformation, whose impact, throughout Europe,was huge.

One of the most eloquent examples of paintinginspired by the ideas of the Reformation, as wellas being one of the most powerful works in theentire history of religious art, is this one, Holbein'simage of the dead Christ, painted 1521.

What he does is a paradox. Because, in a way, he'strying to affirm the idea of the Bible and Christ'slife as a living force, by painting it as graphically aspossible, but through showing an image of Christat his lowest ebb, when he's died and his flesh isbeginning to rot and decay.

There's all sorts of speculation about the fact thatHolbein might have had a body, that he found inthe Rhine, put in his studio and used directly as amodel for this work. But whether that's true ornot, dead bodies were much more in evidence inlate medieval or early modern Europe. And unlikeour world, theirs was not sanitized from the ideaand the image of death.

What we see is something that's very curious and had art historians speculating for the last fewcenturies. Is this a commission? Is it the bottompart of an altarpiece? Well, there's no evidence tosuggest that it is. And in the end, no records provethat the work was commissioned at all.

And what we're left now is the thought that thismay be a personal image of private devotion byHolbein. It's a painting that almost smells as youget close up to is, such is its power as a trigger for the imagination.

Look at the eyes, how the sockets have becomerigid. Rigor mortis is setting in. And what Holbein,I think, is trying to say-- and I think achieves-- isby showing Christ in this putrefied form-- Christ,remember is the word made flesh-- he's alsoemphasizing the miracle of the Resurrection.

He's showing Christ, as no artist has done before,at his lowest ebb. And in a way, it's an affirmationof Holbein's own personal faith. It's also a workwhich establishes him as one of the great talentsof 16th century European painting.

Of all Holbein's patrons in Basel during his earlyyears, by far and away the most important for hissubsequent career was Erasmus, one of the mostcelebrated scholars of the time.

Erasmus' studies in Latin and Greek enabled himto translate the New Testament, which waseventually published in Basel in 1516, where hefirst came into contact with Holbein, whoseintense scrutiny of his subjects seemed to strike achord with the equally thorough scholar, whocommissioned Holbein to produce half a dozen or so portraits of him over the next decade or so.

I love these portraits that Holbein does of Erasmus. They have a detachment in their scrutiny and in their intense observation. But they're also so intimate. And it's as if Holbein, and by extension us, the viewer, has somehow crept into Erasmus' study. And he's peeking over the shoulder of the great scholar as he's wrapped up in his fur-lined cloak to keep the drafts away.

And we're watching as he writes his commentary to St. Mark's gospel, that we can read there. But we've caught him unawares. And in a way, there's a parallel between what the young artist is tryingto do and what his intellectual mentor is doing.

As Erasmus scrawls away, so Holbein has this intense control. And in a way, he's trying to produce some kind of parallel in a visual form to what Erasmus is doing in intellectual and written form.

But the intellectual and religious turmoil in middle Europe had certain negative spin offs for artists, not least because religious commissions were suddenly frowned upon. And in addition,Holbein's portrait business, here in Basel, had allbut dried up.

So he look further afield, starting in 1524, by tripto France, where he tried to get work at the courtof Francis I. But that was unsuccessful. And then,two years later, probably with a recommendationfrom Erasmus himself, he set sail for TudorEngland to try and get work at the court of HenryVIII.

It was during the early part of Henry VIII's reignthat the renaissance was established in England.Architects, craftsmen, sculptors, painters, andpoets were all encouraged to make the journeyacross the Chanel, so that the king and hisministers might harness their talents to proclaimthe power and sophistication of the Tudormonarchy.

It was Erasmus' links with England that providedHolbein with his first introduction to the Englishcourt. Chief amongst Erasmus' friends, and thefirst port of call for Holbein, was Thomas More, afellow scholar and soon to become LordChancellor of England.

More welcomed Holbein to his Chelsea home andcommissioned him to paint a number of portraitsof his household. Most of these no longer survive.But we have this delicate study for an elaboratefamily portrait.

What does survive, however, is one of Holbein'smost direct and precise portraits, that of SirThomas More, himself, painted in 1527. More starsoff into space, a man whose thoughts were on thisworld and the next, wearing the rich gold chain ofa privy counselor.

What really grabs the viewer's attention, though,and perhaps makes the hairs stand up on theback of your neck, are the hairs on More's chinand the extraordinary detail rendered throughhundreds, maybe thousands of tiny brush strokes,which creates an image that seems almostphotographic.

In spite of his success here in England, Holbeinhad to return to Basel in 1528, because he was indanger of losing his citizenship. And over the nextfew years, in both Switzerland and then again,here, in England, he was to witness the fullonslaught of the Reformation and its politicalconsequences.

During Holbein's absence, the Reformation hadbegun to take serious root here in Basel. And theimplications were political as well as religious,with the small Catholic oligarchy beingthreatened by a Protestant democracy.

But things turned ugly at the beginning of 1529,on Shrove Tuesday, when the whole city wassupposed to be celebrating and suddenly anangry mob came up the hill, here, to thecathedral, broke in, tore down statues, smashedstained glass windows, and triggered off a wave oficonoclasm throughout the city.

It's difficult to know what Holbein's religiousviews were at the time. He was born and broughtup a Catholic. And he painted many religiousworks for Catholic patrons and churches. It'salmost certain that many of Holbein's works weredestroyed in the rioting, as very few still survive.

But what he did out of economic necessity andwhat he did from conviction, we'll never fullyknow. There's a clue, though, to his developingreligious inclinations during the turbulent decadeof the '20s in this woodcut, "Christ is the TrueLight," which shows Christ pointing to a candle,which illuminates the entire image and shows theway to the poor and the ordinary on the left,whilst, to the right, the pope and other churchdignitaries follow Plato and Aristotle, thephilosophers of the ancient, classical, paganworld, into the abyss. An image of clear andstrong Protestant sentiment challenging theauthority of the Catholic Church and its arcaneteachings.

During his time back in Basel, Holbein found timeto paint a portrait that wasn't a commission and,in fact, for many, was the most intimate work ofhis life. It shows his wife, Elsbeth, and two of hisfour children, Philipp, who is about six, andKatherina, who is two. In fact, Elsbeth is pregnantwith the third child when this was made.

And it's very curious work, not least because thebackground seems so bleak. It's black. Itenhances the figures. It makes them stand out inrelief. And it also emphasizes the fact that thecomposition mirrors the traditional image of themother and child, or, in fact, Leonardo's image ofSt. Anne, the Madonna, and child.

But in fact, there's something more practical here, or impractical. Because somewhere down theline, after Holbein finished this work-- and he didthe portraits on paper-- they've been cut out andthen mounted on a panel. And so this isn't quitehow they were intended to be seen.

But it's a very, very sad work. His son looks up, I think, more in hope than in expectation. And thedaughter, the young Katherina, doesn't seem toknow the figure that's painting her. But look at theface of the wife. She's red-eyed. Her face looksslightly puffy. And it's almost as if she knows thatHolbein is not going to be around for much longer.

And in fact, he isn't. He can't find work in Basel.And so in the end, in 1532, he goes back toEngland and never returns, leaving the family,effectively, to fend for themselves.

But the England of 1532 was dramaticallydifferent from the country that Holbein had left in1528. In fact, it was on the edge of revolution, withHenry VII in the middle of trying to secure adivorce from Catherine of Aragon.

The divorce scandalized Europe and lead to a splitwith the papacy, with Henry VII proclaiminghimself head of the Church of England. Hobein'spatron, Sir Thomas More, opposed the divorce,resigned, and was eventually executed.

But it doesn't seem to have had a detrimentaleffect on the painter's prospects, because, verysoon, he was moving in the circle surrounding thefuture queen, Ann Boleyn, including More's rivaland later Chancellor of the Exchequer, ThomasCromwell.

Cromwell became the architect of the EnglishReformation, supporting the break with Rome,and cementing it through the dissolution of themonasteries. He was depicted, in both oil paintand, even more tellingly, in this preparatorydrawing by Holbein, as man of ruthless, single-minded ambition.

And in the midst of all these troubles, and directlyconnected to them, Holbein is commissioned topaint what becomes his most celebrated, famous,and complex work, this one "The Ambassadors."Painted in 1533, showing two men, a rareexample, a very early example in European art ofa double, full length portrait.

Jean de Dinteville, he's the ambassador from theFrench court in London. And Georges de Selve,he's the Bishop of Lavaur, who comes overbecause his friend, Jean, is having problemsnegotiating with Henry VIII on behalf of the Kingof France, because Henry is antagonisticallyinvolved in an argument with the pope.

Now, Jean de Dinteville commissions the portrait.And that might explain why he seems to be themost prominent figure. He dominates, certainly interms of surface area. As always with Holbein, thedetails give us a much greater sense of knowledgeof these two men and their world.

For a start, Jean clutches an elaborate daggersheath that has on it his age, 29. Georges leans ona book that gives us his age, 25. And then werealize that, in the center the picture, between thetwo men, is a celebration of the renaissance worldand scholarship that the two of them practice.

So starting at the top, Holbein gives us a celestialglobe of the stars and the heavens and alsorecently invented navigational tools. And thendown below, there's a terrestrial globe, withFrance clearly visible. Then there's an oddtextbook. Next to it is a hymn book, open on thepage of a hymn written by Martin Luther, of allpeople. And then some musical instruments, alute and a collection of flutes.

So what do we make of all this? Well, certainscholars have put forward the view-- and it seemsperfectly credible to me-- that this mathematicalbook is about the process of division. And thatLuther, himself, as well as being a reformer, is alsoa divider of the Church. And that the lute, with isbroken string, is a symbol of frailty, but also itmeans that the hymn can't be fully realized.

And so what is happening here is that there's acomment by Holbein on the religious situation,specifically in England and also, more broadly, inEurope. But I think the key to these paintings arein two details that are not here in the center.

But they're found, first of all, in the top, left-handcorner, which is the crucifix, which is barely inview. But it's making its presence felt. Forsecondly, and much more curious, is this form,here, in the foreground, that you can only seewhen you start to walk and look from anotherperspective. And then you see, clearly, from thisangle, that it's a skull, through a process known asanamorphosis or stretching or distorting theimage.

And it's clear that there's this great symbol, thrustacross the surface of the painting, that it's amemento mori, a reminder of death and thefrailty of human life. And I think the broader pointis being made, by Holbein here, that, in fact,conflict obscures the truth.

The truth is up there, in the top, left-hand cornerof the painting for Holbein. Christ, himself,crucified on the cross, that's the redemptive hopefor mankind. But I think also, Holbein is makingand even more interesting point with this work.And it's to do with the whole process of painting,what Holbein is devoted his life to.

Because no one in European art, up to this point,has scrutinized the natural world as closely asHolbein and rendered it with such extraordinarycare and attention and detail. And what he'smanaging to show us, in this painting, is that youcan have scholarship, you can have diplomacy,you can have an expanded, new culture oflearning. But that you will never grasp the biggerpicture. You will never understand the worldtotally from one, fixed viewpoint. And that youhave to see the world from a number of differentperspectives. And that, I think, is a very profoundpoint.

Within three years of painting "The Ambassadors,"Holbein got the position he really wanted, painterto the king, and began a series of portraits thathave defined how that most familiar of Englishmonarchs has been seen down the ages.

This is the quintessential image of an overbearingand tyrannical monarch. Holbein depicts the Kingseemingly at face value, emphasizing the small,humorless eyes and mouth, the curiously flatcheeks and chin. But his authority is clear,formidable even, amplified by opulent jewelry,depicted in real gold leaf, and helping to create adomineering presence, even though the work,itself, is small.

Consequently, Henry approved of the painting, asdid Thomas Cromwell, who was cleverlyencouraging the use of the painter to promote thepower of the monarch. And idea which wasreinforced when Holbein was commissioned topaint a group portrait of the Tudor dynasty forHenry's Whitehall Palace. The picture,subsequently destroyed in the palace fire of 1698,showed Henry and his now third wife, JaneSeymour, together with his parents, Elizabeth ofYork and Henry VII.

The image of the two Henry's, which survive inthis preparatory drawing, affirms the idea ofdynastic progression and increasing power, fromlean father to vast son. But the Queen JaneSeymour was to die giving birth to Henry's long-awaited heir. But the King didn't spend much timemourning.

Together with the assistance was chancellorCromwell, he decided to try and find a new wife,preferably one who would combine politicaladvantage with the physical beauty that Henrysought. And so Holbein was dispatched to Europeto paint suitable candidates from which Henrycould then make his matrimonial choice.

Holbein's first port of call is to Brussels to paintthis young woman, Christina of Denmark, theDuchess of Milan. Now she's the youngerdaughter of the King of Denmark, who's aLutheran, and who's been deposed. She's alsomarried to the Duke of Milan but is a widow by theage of 12. 4 years later, when she's 16, she's readyto sit for this portrait, because the King of Englandwants to marry her.

Now Holbein gets three hours with her in the datein March. And he sketches her face and her handsand makes intricate studies, which is reflected inthe finished oil. And when Henry sees the results,rumor has it that he falls in love. Certainly, hewants to marry her. He sees, if not a ravishingbeauty, someone who's young and will give himmore heirs, perhaps a healthy heir.

But politically, there are machinations. She's verywell connected. She's also the niece of theEmperor Charles V, who doesn't want anyconnection with Henry VIII. And so the weddingdoesn't take place. Her response, though, is a bitmore diplomatic. She says, if I had two heads, I'dhappily place one at the disposal of the King ofEngland.

Henry finally settled on marrying Anne of Cleves.But Holbein was placed in an impossible position.He was dispatched to the Rhineland, with ordersto produce an instant likeness of Henry's nextintended, but be needed to exercise diplomacyand tact.

Anne's dress seems to have fascinated Holbeinmore than the strangely lifeless symmetry of herfeatures. And Henry's displeasure, at finding Anne of Cleves more, as he put it, like a flat Flander'smare when she arrived for the marriage ceremonyin January, 1540, cost Holbein dear in prestige.

In fact, he received no further significant workfrom Henry. Three years later, having completedhis last portrait, that of himself, Holbein fellseriously ill and died, probably the victim of theplague, which had spread through London 1543.He was 45 years old.

Holbein's influence on British painting isenormous. He made the human individual seemmore real and more exposed than any artistbefore him and is the father of a tradition ofportraiture which continues to this day.

But he also created images of a king and his courtwhich has lived on in the popular imagination,bringing to life one of the most dramatic periodsin English history.

#hans holbein #swedish art #sweden #holbein #ambassadors #holbein's ambassadors #foreshortening #distortion #protestant reformation #swiss art #german artists #swiss artists

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