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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.

Galleria Spada

A Man with a Glove

Titian

This introspective portrait (c. 1515) captures a bearded man in mid-turn, scroll in hand, his gaze piercing yet reserved. Rendered with Venetian richness, the work highlights the sitter’s intellect and social poise. The subtle play of light on fabric and flesh reveals Titian’s early mastery of psychological depth and painterly nuance.

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.

Palacio de Bellas Artes

Carnival of Mexican Life (detail)

Diego Rivera

This scene from Carnival of Mexican Life (1936) mocks imperial and capitalist excess. Donkey-headed elites, masked peasants, and a skull-emblazoned flag form a surreal parade of corruption and resistance. Drawing on the Carnival of Huejotzingo, Rivera fuses satire, folk ritual, and political critique to expose social hypocrisy.

Museu Frederic Marès

The Appearance of Christ to the Disciples

Master of Cabestany

This 12th-c. Romanesque sculpture by the Master of Cabestany depicts Christ revealing himself to his disciples after the resurrection. The artist is known for figures with large heads, flat foreheads, long noses, and almond-shaped eyes. Likely from the monastery of Sant Pere de Rodes, the work exemplifies the Master of Cabestany’s influence across Southern Europe, from Tuscany to Navarre.

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.

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.

Palacio de Bellas Artes

Katharsis (detail)

José Clemente Orozco

This explosive mural section (1934) fuses war, lust, and revolution into a single convulsion. Clashing fists, rifles, and machines crush bodies into chaos. The nude woman evokes both violence and moral decay, while fire and protest surge behind. Orozco presents modernity as an inferno—only through destruction can truth emerge.

Museo Luis Alberto Acuña

Indo-American Scene

Luis Alberto Acuña

A lone, naked rider on horseback drinks from a forest stream, immersed in a lush tropical setting. Acuña's painting (1950-60s) evokes a primordial connection between Indigenous people and the natural world, blending mythic and symbolic elements into a vision of harmony, solitude, and ancestral presence.

Tintoretto, Birth of a Genius

Adam and Eve

Tintoretto

Tintoretto’s painting (1550–53) depicts the biblical scene of temptation in the Garden of Eden. Eve offers the forbidden fruit to Adam, with their expulsion illustrated in the background. Influenced by Michelangelo, the composition emphasizes the nude figures and employs oblique lines to structure the landscape. This work reflects the Renaissance interest in human form and moral themes.

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.

Pinacoteca Ambrosiana

The Infant Jesus with a Lamb

Bernardino Luini

This oil and tempera on panel (c. 1525) captures the tenderness of the Infant Jesus, or Gesu Bambino, embracing a lamb—a symbol of his future sacrifice as the Lamb of God. Luini’s High Renaissance style blends divine purity and human innocence, creating a serene image of spiritual love and redemptive foreshadowing.

Caravaggio's Roman Period

The Supper at Emmaus

Caravaggio

This painting (c.1606) focuses on Christ’s quiet gesture and the attentive figures around him. Subtle expressions replace dramatic shock, emphasizing intimacy over display. Caravaggio draws revelation into the realm of the ordinary, showing faith as recognition that dawns quietly amid human fragility.

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.

Villa Farnesina

Cupid and the Three Graces

Raphael

In this fresco (1518), Raphael portrays Cupid with the Three Graces, who embody beauty, charm, and joy. The scene reflects the harmony of love and divine favor, integral to Psyche’s myth. Framed by Giovanni da Udine’s botanical festoons, it blends mythology with Renaissance ideals of grace and abundance.

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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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