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Villa Farnesina

The Fall of Phaeton

Sebastiano del Piombo

This fragment (c. 1511) shows Phaeton falling from the sky after failing to control the sun chariot of his father Helios. To save the world, Zeus strikes him down. Part of Sebastiano del Piombo’s mythological cycle at Villa Farnesina, it complements Raphael’s Triumph of Galatea with a dramatic warning against hubris.

Villa Farnesina

Perseus and Medusa

Baldassarre Peruzzi

In this fresco (c. 1511), Peruzzi depicts Perseus about to behead Medusa. Medusa’s petrifying gaze has already turned victims to stone, visible as pale figures below. Pegasus, born from Medusa’s blood, emerges nearby, symbolizing rebirth. The scene reflects triumph over monstrous chaos.

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

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.

St. Ignazio di Loyola

The Apotheosis of St. Ignatius

Andrea Pozzo

This Baroque trompe-l’œil painting (1685–94) transforms the flat ceiling into a soaring heavenly vision. St. Ignatius is welcomed into paradise by Christ and the Virgin, while allegories of the continents celebrate Jesuit missions. Pozzo’s masterful illusionism merges faith, perspective, and global ambition.

Château de Chantilly

Arab Chieftains in Council

Horace Vernet

This 1834 work depicts Arab chieftains in council, likely discussing tribal matters or alliances. Vernet, a French artist known for battle scenes and Orientalist themes, illustrates the 19th-c. European interest in the Orient. The painting reflects the complex interplay of art, culture, and imperialism of the era.

Duomo di Milano

Altar of Saint John Bono

Elia Vincenzo Buzzi

This monumental altar (c. 1763) in the Milan Cathedral honors Saint John Bono, a 13th-c. bishop known for his piety and service. The central figure is framed by angels and crowned by the inscription Ego sum pastor bonus (I am the Good Shepherd), evoking Christ-like compassion and episcopal authority.

Pinacoteca Ambrosiana

The Holy Family with Sts. Francis, Anthony, Magdalene, John and Elizabeth

Bonifazio Veronese

This oil on canvas (1525–27) shows the Holy Family seated outdoors, with Mary offering fruit to the Christ Child held by Joseph. At their side stand the young Saint John the Baptist and the Archangel Raphael guiding Tobias, who carries a fish. The combination of figures from different episodes may connect to Renaissance interest in linking domestic piety with protective intercession.

Fondation Louis Vuitton

Sudden Awakening

Zhang Huan

This large Buddha head sculpture (2006) lies fragmented on the ground, its heavy upper section slightly shifted above closed eyes and rough, ash-coated features. Formed from ash and steel, it draws on materials linked to ritual burning and industrial residue. The broken, weighty face reveals how contemporary Buddhist art confronts impermanence and the tension between spiritual ideals and material collapse.

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.

Villa Farnesina

Council of the Gods

Raphael

In this scene (1518), Raphael depicts the gods deciding Psyche’s fate. Right to left: Minerva (helmet), Diana (with crescent moon), Jupiter (eagle below), Juno (blue robe), Neptune (trident), Pluto (bident, dog Cerberus), Venus (semi-nude, pointing), Mars (helmet). On the far left, Mercury (caduceus) leads Psyche to Olympus. Cupid kneels before Jupiter, pleading for Psyche’s immortality. The council embodies divine justice, granting the soul eternal union with love.

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.

Rodel Tapaya Exhibit "Urban Labyrinth"

The Comedy, Parody, and Tragedy

Rodel Tapaya

This 2018 painting layers crowded shanties, billboards, and tangled walkways with mythic creatures from Philippine folklore. Human figures mingle with spirits and masked characters, blurring everyday life with the supernatural. Bright colors and abrupt shifts in scale evoke noise, congestion, and spectacle. Tapaya unfolds contemporary urban experience as a chaotic folk tale, where comedy, parody, and tragedy coexist in a single scene.

Pinacoteca Ambrosiana

The Entombment of Christ

Titian and Palma the Younger

A poignant rendering of Christ’s burial, this oil on canvas (1618) was begun by Titian and completed by Palma the Younger. The composition captures collective grief, emphasizing the physical weight of death and the emotional weight of loss. The figures’ gestures and expressions mirror Renaissance ideals of pathos and human dignity.

Tintoretto, Birth of a Genius

Judith Beheading Holofernes

Jacopo Tintoretto

This painting (c. 1577) by the studio of Jacopo Tintoretto depicts the biblical scene where Judith beheads Holofernes, an Assyrian general, to save her people. Executed in the Mannerist style, it emphasizes tension and emotion, typical of the Late Renaissance. The scene symbolizes courage and divine justice, reflecting the era’s interest in heroic narratives.

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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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