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Palacio de Bellas Artes

Apoteosis de Cuauhtémoc (detail)

David Alfaro Siqueiros

In this dynamic panel from Apoteosis de Cuauhtémoc (1950–51), Siqueiros reimagines the last Aztec emperor as a defiant figure armored against colonial violence. The clash of Indigenous resistance and mechanized conquest evokes Mexico’s historical trauma and the enduring spirit of revolution. Bold forms and forceful lines heighten the scene’s urgency.

Frida Kahlo Museum

Viva la Vida, Watermelons

Frida Kahlo

Painted just days before her death in 1954, this still life features ripe watermelons—some whole, some cut—bursting with color and vitality. The inscription Viva la Vida (Long Live Life) appears carved into a slice, signed and dated by Kahlo. Though her body was failing, this joyful image radiates defiance and reverence for life’s beauty amid suffering.

Galleria Borghese

Apollo and Daphne

Bernini

Seen from behind, Bernini’s Apollo and Daphne (1622–25) reveals the spiraling tension of flight and pursuit. Daphne’s transformation accelerates—branches burst from her hair as Apollo strains forward, barely grounded. This angle heightens the illusion of motion, capturing the myth’s fleeting climax with lyrical virtuosity.

Kyiv

St. Andrew's Church

Bartolomeo Rastrelli

St. Andrew’s Church (1747–54) crowns a Kyiv hill with gilded domes and turquoise ornament typical of late Baroque design introduced by the Italian architect Bartolomeo Rastrelli. Its dynamic composition and elaborate detailing adapt Western forms to Orthodox liturgy. The church stands as a landmark of 18th-c. imperial architecture in Eastern Europe.

Santa Maria Sopra Minerva

The Risen Christ

Michelangelo

Michelangelo's The Risen Christ (1521) depicts the resurrected Christ holding a cross, symbolizing triumph over death. This marble statue embodies Renaissance humanism, blending classical beauty with spiritual dignity. The idealized nude form reflects the fusion of divine suffering and victory, showcasing Michelangelo's mastery in capturing both physical perfection and profound spiritual themes.

Caravaggio's Roman Period

John the Baptist (Youth with a Ram)

Caravaggio

Painted around 1602, this work portrays John the Baptist as a youthful figure embracing a ram. Caravaggio departs from solemn prophecy to present vitality, sensuality, and human immediacy. The saint’s glance engages the viewer, while the animal evokes sacrifice and redemption. Through natural light and unidealized form, the painting fuses biblical meaning with raw, earthy presence.

Palacio de Bellas Artes

Inframundo Maya

Rina Lazo

In this mural (2019), Lazo reimagines Xibalba—the Mayan underworld—through the lens of the Popol Vuh. The Hero Twins traverse rivers, deities oversee sacrifice and desire, and spirits haunt the sacred landscape. Blending myth and memory, the artist fuses political vision with ancestral wisdom in her final celebration of Maya cosmology.

Pinacoteca Ambrosiana

Male Portrait

Hans Muelich

This portrait (c. 1550) reflects the refined realism of the German Renaissance. The sitter’s composed gaze, luxurious attire, and elegant glass signify affluence and cultured leisure. The distant path and village in the background may allude to the subject’s journey, social standing, or inner world.

Galleria Borghese

Madonna and Child with St Anne (Madonna dei Palafrenieri)

Caravaggio

This bold altarpiece (1605–06) shows the Virgin Mary guiding the Christ Child as he crushes a serpent—symbol of original sin. St Anne watches solemnly, evoking generational grace. Caravaggio’s realism and chiaroscuro infuse the holy scene with human emotion, provoking awe and controversy upon its brief display in St Peter’s.

Hôtel-Dieu

The Damned in Torment

Rogier van der Weyden

This detail from the Last Judgment Altarpiece (1445–50) intensifies the vision of damnation. Naked figures twist and collide as they plunge into dark flames, their limbs tangled in chaotic knots. Strained muscles and distorted faces display a studied range of terror and despair. For patients and caregivers at the Hôtel-Dieu, such visceral imagery sharpened awareness of sin, repentance, and the uncertainty of salvation.

St Peter's Basilica

Pietà

Michelangelo

This marble sculpture (1498–99) shows the Virgin Mary holding the body of Christ after the Crucifixion. Carved by Michelangelo at age twenty-four, it unites idealized form and anatomical accuracy with restrained pathos. Commissioned for St. Peter’s Basilica, the Pietà exemplifies High Renaissance harmony between human beauty and divine suffering.

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Horizons

Francisco Antonio Cano

Horizontes (1913) presents an idealized vision of Colombia’s settler frontier. The man's outstretched arm signifies hope and destiny, while the woman and child convey continuity and rootedness. This work by a leading Colombian academic painter uses the peasant family to symbolize national identity and the forging of a future in the Andean landscape.

Basílica and Convent of San Francisco

The Last Supper (with Cuy)

Diego de la Puente

De la Puente’s 1658 painting uniquely blends Spanish colonial art with Peruvian culture. It depicts Jesus and his disciples eating cuy (guinea pig), a local delicacy, instead of lamb. This substitution reflects how Catholic imagery was adapted to local customs, offering a clear example of the visual and cultural hybridization that shaped colonial Peru.

Museo Luis Alberto Acuña

The Witch of Zascandil

Luis Alberto Acuña

This portrait (1991) shows the Witch of Zascandil, a figure rooted in Colombian folklore. Sharp features and widened eyes create a tense, exaggerated profile. The name Zascandil refers to a trickster or wandering mischief-maker in regional stories. The image indicates how rural mythology blends satire, fear, and ancestral belief.

Hôtel-Dieu

Archangel Michael Weighing Souls

Rogier van der Weyden

Detail from the Last Judgment Altarpiece (1445–50), created for Beaune’s Hôtel-Dieu. Archangel Michael holds scales to weigh souls, his calm gaze contrasting with the cosmic drama around him. Trumpeting angels herald resurrection, while Michael’s jeweled vestments and red wings embody divine authority. For the hospital’s patients, this image linked earthly suffering to the hope of eternal salvation.

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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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