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Dalí Theatre-Museum

The Courtyard of the Wind Palace

Salvador Dalí

Dalí’s surreal installation (1970s) features golden female mannequins resembling votive icons in windows surrounding a central bronze figure of Venus crowned with a ship. This work merges classical motifs with theatrical elements, creating a fantastical vision of fertility, mythology, and voyeurism, showcasing Dalí’s unique blend of art and architecture.

Museo Luis Alberto Acuña

A Dangerous Whisper

Luis Alberto Acuña

This mural (1950s) by Luis Alberto Acuña depicts a man whispering seductively into a woman’s ear while she listens with a mix of curiosity and restraint. The intimate gesture contrasts with the servant above, who quietly performs her duties, reinforcing themes of gender dynamics, social roles, and the tension between desire and decorum in colonial society.

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.

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.

Galleria Borghese

The Entombment

Raphael

Commissioned in 1507 by Atalanta Baglioni to honor her slain son, this painting unites the Deposition, Lamentation, and Entombment in one scene. Raphael’s dynamic figures, especially Christ’s, show Michelangelo’s influence. Stolen in 1608 by agents of Cardinal Borghese, it now hangs in the Galleria Borghese. A 2020 restoration revealed vivid colors, delicate sfumato (soft tonal blending), and adjustments in Raphael’s evolving design.

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.

Museu do Amanhã

Puffed Star

Frank Stella

Installed before the Museum of Tomorrow in Rio de Janeiro (2016), this metallic sculpture by American artist Frank Stella dazzles with radiating points and mirrored planes. Its star-like form evokes cosmology and perception, inviting reflection on the interconnectedness of space, matter, and human imagination.

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.

Villa Farnesina

Bacchus and Ariadne

Baldassare Peruzzi

Painted c. 1511 in the Loggia of Galatea, Villa Farnesina, this scene depicts Bacchus, the god of wine, with Ariadne, whom he marries after her abandonment by Theseus. The golden mosaic-like background evokes classical luxury, while Peruzzi’s composition aligns with the villa’s mythological and astrological themes. This artwork reflects Renaissance fascination with classical mythology and the interplay of fate and divine intervention.

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.

Annunciation Cathedral

The Saviour Not Made by Hand

Simon Ushakov

This mid–late 17th-c. fresco depicts Spas Nerukotvorny (The Saviour Not Made by Hand), an image understood as a direct imprint of Christ’s face and a sign of his enduring presence. Ushakov follows Byzantine conventions yet introduces soft modeling and spatial depth drawn from Western art. The work reflects a moment when Moscow blended inherited Orthodox forms with new artistic influences to express religious renewal.

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.

Pantheon

Pantheon with Macuteo Obelisk and Fountain

Filippo Barigioni

The Pantheon’s façade (118–125 AD), built under Emperor Hadrian, preserves Agrippa’s earlier inscription (M·AGRIPPA·L·F·COS·TERTIVM·FECIT - Marcus Agrippa, son of Lucius, consul for the third time, built this). Before it stands the Macuteo Obelisk from Egypt (rededicated here in 1711) and the Baroque fountain by Filippo Barigioni (1711), blending imperial Rome, Christian Rome, and papal urban renewal into one historic vista.

Museo dell'Opera del Duomo

Madonna del colloquio

Giovanni Pisano

This half-length marble Virgin and Child (c. 1280–1284) originally stood at the south transept portal of Pisa Cathedral. Now, it captures a striking emotional exchange between mother and son. The Child gently grasps Mary’s veil, emphasizing Pisano’s innovative focus on tenderness and psychological realism in sacred art.

Galleria Borghese

Boy with a Basket of Fruit

Caravaggio

This early Baroque painting (c. 1593) merges portraiture with still life, showing Mario Minniti holding a basket of overripe fruit. Caravaggio renders blemishes and textures with unflinching realism. The sensual posture and decaying abundance evoke themes of youthful beauty, ephemerality, and temptation.

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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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