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Pinacoteca Ambrosiana

Mary Magdalene

Titian

This intimate portrayal of Mary Magdalene (c. 1560) captures the saint in a moment of spiritual ecstasy. Covered by cascading hair, her body becomes a vessel of penitence and divine grace. Titian’s sensual rendering reflects the Renaissance ideal of redemptive beauty and the transformative power of divine love.

Pinacoteca Ambrosiana

Holy Family with Saints John, Tobias, and Raphael

Bonifazio Veronese

This Venetian Renaissance oil-on-canvas work (1525–27) expands the traditional Holy Family to include St John, Tobias, and the Archangel Raphael. Rich in color and detail, it blends divine iconography with human warmth, echoing the era’s interest in sacred storytelling through vivid, earthly scenes.

Galleria Borghese

The Council of the Gods (detail)

Giovanni Lanfranco

In this celestial scene from The Council of the Gods (1624–25), Jupiter presides over Olympus, crowned with stars and flanked by his eagle. Surrounding him are Juno, Venus, Mars, and Pluto, their divine forms emerging from clouds. Painted for the Sala della Loggia in Villa Borghese, the fresco evokes the grandeur and illusionistic power of Baroque heaven.

The Antonino Salinas Regional Archeological Museum

Satyr Pouring Wine

Praxiteles

This Roman marble statue is a copy of Praxiteles’ 4th-c. BC Greek original, depicting a youthful satyr, a companion of Dionysus, pouring wine. Though the pitcher and cup are missing, it captures the revelry and music linked to satyrs. Found near Naples in 1797, it exemplifies Praxiteles’ style with sinuous curves and a naturalistic pose, embodying the carefree spirit of Dionysian myth.

Castello Sant'Angelo

Emperor Hadrian

Girolamo Siciolante da Sermoneta (attrib.)

This 16th-c. fresco from the Sala Paolina depicts Emperor Hadrian in idealized Roman military attire. Portrayed with commanding calm, Hadrian stands framed by classical architecture and winged putti, symbolizing both earthly rule and divine favor. The work affirms his legacy as builder, humanist, and guardian of imperial order—within the very mausoleum he commissioned.

Castello Sant'Angelo

Grotesque Fantasy with Beasts

Perino del Vaga, Rietti Domenico

This fresco (1545–46) shows a rainbow-like arch filled with hybrid beasts, winged creatures, feline predators, and playful putti (cherubic child figures) arranged over a pale ground. The painters adapt the Roman taste for grottesche (fantastic ornamental motifs) rediscovered in ancient ruins. Their dense fantasy best reveals how Renaissance courts used such imagery to turn walls into imaginative spectacle.

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.

Church of San Francisco

Andean Baroque Ceiling Panel

Manuel Chili (Capiscara)

This carved and gilded ceiling panel (1770–80) shows radiant faces, golden beams, and floral motifs arranged around a central sunburst. Produced in late-colonial Quito, it aligns with the Andean baroque’s celestial imagery. Caspicara joined Catholic cosmology with Indigenous conceptions of ordered, sacred geometry.

Villa Farnesina

Venus Appeals to Ceres and Juno

Raphael, Giovanni da Udine

In this scene (1518), Raphael depicts Venus appealing to Ceres and Juno for vengeance on Psyche, but both goddesses refuse. The fresco illustrates the tension between divine power and mortal love. Da Udine’s elaborate botanical festoons frame the composition, enhancing its Renaissance richness.

Galleria Spada

Perspective Gallery

Francesco Borromini

Created for Cardinal Spada, this architectural illusion (1653) compresses nine meters into an illusion of great depth. By subtly reducing the size of columns, floor tiles, and ceiling coffers, Borromini crafted a vanishing point that evokes grandeur. The statue at the end, appearing monumental, is just 90 cm tall—transforming scale into metaphysical reflection.

Galleria Borghese

Pauline Bonaparte as Venus Victrix

Antonio Canova

Antonio Canova's marble masterpiece (1805–08) depicts Pauline Bonaparte as Venus Victrix, reclining semi-nude on a couch, holding an apple symbolizing Venus's triumph in the Judgement of Paris. Commissioned by her husband, Camillo Borghese, Pauline insisted on being portrayed as Venus rather than Diana. The sculpture, originally designed to rotate, reflects both personal ambition and classical beauty.

Keith Haring Mural

Tuttomondo

Keith Haring

This section of Tuttomondo (1989) showcases Keith Haring’s vibrant visual language with simplified human forms, radiant lines, and vivid colors in rhythmic harmony. The mural, painted in Pisa, celebrates peace and collective action, with each figure symbolizing a social or spiritual force working toward global unity. Haring’s work demonstrates the power of art to convey universal themes of cooperation and harmony.

Museo Botero

Adam and Eve

Fernando Botero

These 1999 bronze figures reimagine the biblical first humans with Botero’s hallmark voluminous style. Their serene, exaggerated forms strip the myth of guilt and drama, offering a playful yet dignified meditation on innocence, corporeality, and the timeless tension between flesh and spirit.

Galleria Borghese

Apollo and Daphne with The Apotheosis of Romulus

Gian Lorenzo Bernini, Mariano Rossi

Bernini’s sculpture (1622–25) captures the climactic moment in Ovid’s Metamorphoses when the nymph Daphne, fleeing Apollo’s desire, transforms into a laurel tree. Above, Rossi’s Apotheosis of Romulus celebrates Rome’s divine origins. Romulus ascends, clutching Roma—helmeted symbol of the eternal city—while Fame, winged and bearing a trumpet, heralds his glory with laurel crowns. Together, sculpture and fresco exalt mythic transformation and Rome’s enduring legacy.

Palace of the Inquisition

Aún Hay Tiempo

Julio César Ojeda Ariza

This 2021 work blends oil and ink to portray a woman whose hair becomes a lush tapestry of biodiversity and rural life. Symbolizing Colombia’s natural and cultural abundance, it warns of its fragility. The title, There’s Still Time, urges collective action to preserve the environment and ancestral wisdom.

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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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