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Villa Farnesina

The Wedding Banquet of Cupid and Psyche

Raphael

In this grand fresco (1518), Raphael depicts the divine banquet celebrating the marriage of Cupid and Psyche. At the center, Jupiter and Juno preside; beside them sit Pluto, Persephone, Neptune, and Venus. Ganymede offers wine to Jupiter, while Bacchus (Dionysus), assisted by putti, pours wine at the right. The scene embodies divine harmony, joy, and the union of soul and love.

Galleria Borghese

The Rape of Proserpina

Gian Lorenzo Bernini

From this angle, Bernini’s technical genius is apparent. Pluto’s gripping hands sink into Proserpina’s flesh with astonishing realism, turning marble into living form. The work (1621–22) stages emotional and physical tension at its peak, embodying the Baroque goal of stirring awe, drama, and pathos in a single breathtaking moment.

Galleria Borghese

David

Gian Lorenzo Bernini

This electrifying sculpture (1623–24) captures David mid-swing as he prepares to strike Goliath. Commissioned by Cardinal Scipione Borghese, it breaks from static Renaissance models by freezing a moment of intense motion and psychological resolve. Bernini’s vivid realism and spiraling pose typify the Baroque celebration of drama and energy.

Independence Museum

Champán en el río Magdalena

De la Rue & Torres Méndez

This 1878 lithograph depicts a champán, a flat-bottomed river raft common on the Magdalena River, propelled by Afro-Colombian workers using long poles. Wealthy passengers rest under a thatched shelter, highlighting the stark racial and class divisions of the era. The image captures both Colombia’s natural landscape and its colonial labor hierarchies in transition.

Galleria Borghese

Young Sick Bacchus

Caravaggio

This self-portrait (c. 1593) shows Caravaggio as Bacchus with jaundiced skin and tense features, painted while recovering from illness. The ivy crown replaces the usual vine leaves, subverting divine idealism. Both sensual and unsettling, the image mocks classical beauty and reveals the artist’s own physical vulnerability.

Galleria Borghese

St. Jerome Writing

Caravaggio

This introspective painting (1605–6) shows Saint Jerome translating the Bible, immersed in thought. A skull atop the desk serves as a memento mori (remembrance of death), while dramatic lighting and vivid red drapery highlight the tension between divine labor and mortal fragility. Caravaggio transforms study into a spiritual battleground of flesh, faith, and time.

Galleria Borghese

The Rape of Proserpina (detail)

Gian Lorenzo Bernini

This gripping close-up from Bernini’s marble group (1621–22) captures Pluto’s hand pressing into Proserpina’s flesh. The marble appears to yield under his grip, a dazzling illusion of softness and force. Bernini’s technical brilliance here transforms stone into living drama, amplifying the sculpture’s emotional and physical realism.

Galleria Borghese

David with the Head of Goliath

Caravaggio

This haunting composition (1609–10) shows David holding Goliath’s severed head—modeled on Caravaggio himself. Rather than triumph, the mood is remorseful. The intense chiaroscuro, psychological realism, and moral ambiguity turn this biblical victory into a meditation on guilt, mortality, and inner torment.

Duomo di Milano

St Bartholomew Flayed

Marco d’Agrate

This marble statue (1562) shows St Bartholomew as a flayed figure, his own skin arranged like a draped garment around an exposed muscular body. Such extreme anatomical precision draws on Renaissance study of dissected cadavers. The saint’s upright stance and calm, frontal gaze demonstrate how martyrdom could be articulated as steadfast faith rather than physical defeat.

Chiesa di Gesù

The Damned

Giovanni Battista Gaulli

In this dramatic segment (1676–79) from the Triumph of the Name of Jesus, Gaulli casts the damned from heaven into shadow and chaos. Their bodies twist, morph, and scream as they recoil from the divine light. Cloaked in darkness and shame, they contrast sharply with the radiant saved above—embodying Baroque emotion and the terrifying cost of spiritual failure.

Château de Chantilly

Simonetta Vespucci as Cleopatra

Piero di Cosimo

This painting (c. 1480) by di Cosimo depicts Simonetta Vespucci as Cleopatra, with an asp coiled around her neck. Created posthumously, it honors Vespucci’s beauty; she died in 1476 at 23. The profile view echoes medal portraits, while the snake may symbolize her death from tuberculosis. The serene landscape and sky enhance her ethereal presence, making this work a poignant tribute.

Pinacoteca Ambrosiana

Adoration of the Christ Child

Workshop of Domenico Ghirlandaio

This tondo (c. 1485–1490) shows Mary and Joseph adoring the infant Christ, lying humbly on the earth. The sarcophagus-like manger prefigures his Passion, while the ox and donkey fulfill Isaiah and Habakkuk’s prophecy of animals recognizing the Lord. The scene binds intimacy, humility, and cosmic redemption.

Galleria Borghese

Roman Civilization and the Heroic Virtue of Honor

Mariano Rossi

This illusionistic ceiling (1775) shows a vortex of gods, heroes, and allegorical figures arranged in rising spirals. Rossi organized the composition with deep foreshortening to create a theatrical Baroque panorama. The central burst of light frames scenes of conflict and ascent, indicating how Roman culture linked civic honor with collective greatness.

Villa Farnesina

The Rape of Ganymede

Baldassarre Peruzzi

This Renaissance ceiling panel (1509–14) shows Zeus, in the form of an eagle, abducting the beautiful youth Ganymede to Olympus. The myth frames the act as a moment of divine erotic desire, with Ganymede raised to immortal companionship as Zeus’s beloved. The term rape follows the Latin raptus, meaning abduction, not its modern sense.

Caravaggio's Roman Period

Judith Beheading Holofernes (detail)

Caravaggio

In this dramatic scene from Judith Beheading Holofernes (c.1598), the Assyrian general Holofernes struggles in his final moments as Judith, the Jewish widow, delivers the fatal blow. Caravaggio captures his terror with a contorted face and blood spurting across the bed, while Judith's hands hold him with determination. This raw depiction distills the narrative to its core: virtue triumphing over tyranny, conveyed with intense immediacy.

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Max Tabachnik
Max Tabachnik
41 Countries • 114 Cities • 283 Landmarks
Meet Max

“When the path is beautiful, do not ask where it leads.” — Zen proverb

Welcome to my travel photography!

“When the path is beautiful, do not ask where it leads.” — Zen proverb

Welcome to my travel photography!

For as long as I can remember, my path has been one of discovery—seeking beauty, timelessness, and connection in every corner of the world. It has also been a journey of deep learning and understanding. I’ve been an avid traveler (or perhaps a travel addict?) for most of my life. My love for travel began long before I ever left home: as a child, I drew a fantasy map of my grandparents’ apartment and “traveled” through it with my cousin Sonya, imagining adventures in every corner. Nearly 90 countries and countless moments of awe later, I’m excited to share this journey with you.

Thanks to the tireless and ingenious programming of Diagilev, we’re now able to present about fifteen percent of the images I’ve accumulated over the years. More will be released in small batches depending on your interest. While the first release leans toward museum photography, later ones will include more nature, architecture, culture, and general travel experiences. If you’d like to receive email notifications about new releases, feel free to reach out—no commercial use, ever.

Throughout my travels, I’ve been drawn to two intertwined kinds of discovery. One is intellectual: learning why the world is the way it is. History became my guide, shaping my perspective and filling my camera roll with museums and old buildings. To me, history is not the past—it is the key to understanding the present and how the world became what it is. The other is emotional: seeking moments of elevation—spirituality, beauty, harmony—often found in nature, monasteries, and ancient sacred spaces. Together, these impulses shape my photography. It invites you to learn, admire, and soar—to rise above the mundane and see the world through a lens of curiosity and wonder.

Much of my later travel became possible thanks to my job with Delta Air Lines, but the wanderlust began years earlier. By the time I joined the industry, I had already visited over 35 countries and lived in several—largely thanks to a backpacking journey around the world with Luis León, whose face appears in many early photos. I grew up in Ufa in the USSR, and since leaving it I have lived, studied, and worked in Latvia, the United States, France, South Korea, Canada, Spain, Italy, Brazil, Japan, and Colombia.

A life of near-constant movement may seem a little crazy, but it has deepened my understanding of the world and produced the photography you are about to see. Over the years, my style has evolved—more intentional, more refined—yet its core remains the same: a search for understanding, timeless beauty, and a connection to those who walked this earth long before us.

I hope these photos stir something in your soul, just as they did in mine. I’d love to hear from you—whether reactions, suggestions, corrections, or a request to be added to the email list for new releases (no commercial use, I promise). You can learn more about my travels here, and my academic life here.

Enjoy our shared journey!

Want to reach Max with a question, collaboration idea, academic inquiry, media proposal, or a thoughtful note? Use the form below and your message will go directly to him.

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