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Villa Farnesina

Venus and the Doves

Raphael

In this fresco (1518), Raphael presents Venus, goddess of love, gracefully accompanied by doves, her sacred birds. The flowing ribbon emphasizes her divine beauty and motion, while the doves allude to purity and erotic desire. The image echoes Venus’ central role in the myth of Cupid and Psyche, where love governs both divine and mortal fates.

Galleria Borghese

St. Jerome Writing

Caravaggio

This introspective painting (1605–6) shows Saint Jerome translating the Bible, immersed in thought. A skull atop the desk serves as a memento mori (remembrance of death), while dramatic lighting and vivid red drapery highlight the tension between divine labor and mortal fragility. Caravaggio transforms study into a spiritual battleground of flesh, faith, and time.

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.

Hôtel-Dieu

Archangel Michael

Rogier van der Weyden

This panel (1445–50) from the Beaune Altarpiece shows Archangel Michael weighing souls on Judgment Day. His youthful calm contrasts with the gravity of divine judgment. The richly patterned brocade and peacock-feather wings reflect Burgundian court opulence, linking celestial imagery with the devotional grandeur of 15th-century Flanders.

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.

Villa Farnesina

Cupid Pleads with Jupiter for Psyche

Raphael

In this fresco (1517–18), Raphael depicts the moment when Cupid petitions Jupiter for Psyche’s immortality. Jupiter’s intimate gesture suggests divine consent and compassion, while Cupid’s youthful vulnerability contrasts with the god’s authority. The work reflects Renaissance fascination with classical myths and divine love.

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.

Palacio de Bellas Artes

Man, Controller of the Universe

Diego Rivera

This monumental mural (1934) shows a central worker operating a machine that aligns planetary, biological, and industrial forces. Rivera recreates and expands his destroyed Rockefeller Center fresco for a Mexican audience, filling the scene with scientists, workers, and political leaders. The contrast between capitalist luxury and organized labor articulates his Marxist belief that technology should serve collective progress.

Museo dell'Opera del Duomo

Tomb of Archbishop Scherlatti

Nino Pisano

This marble relief (c. 1300–1350) formed part of the tomb of Archbishop Scherlatti. Christ is depicted in the Imago Pietatis pose, rising from the tomb with eyes closed, flanked by two mourning angels. The scene blends devotional tenderness with refined Gothic elegance, exemplifying Nino Pisano’s lyrical style and the growing emotional realism in 14th-c. funerary art.

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.

Museo Luis Alberto Acuña

Chiminigagua Releases Light

Luis Alberto Acuña

Detail from a mural (1960–70s) reimagining the Chibcha creation myth. The supreme god Chiminigagua raises his arms as radiant birds burst forth, bringing light to the cosmos. A glowing sun and celestial rainbow crown the scene, marking the divine act that initiated life and order in the Muisca universe.

Chapultepec Castle (National History Museum)

Detail from Retablo de la Independencia

Juan O'Gorman

This mural detail (1960–61) dramatizes colonial brutality during Mexico’s struggle for independence (1810–1821). A near-nude man is tortured before Spanish troops and clergy, symbolizing oppression. At left appear insurgent leaders Miguel Hidalgo and José María Morelos, while nobles and clerics in bright dress embody privilege. The peasants and child at right embody the pueblo whose suffering and resilience fueled the revolt for freedom.

Galleria Borghese

The Council of the Gods

Giovanni Lanfranco

Lanfranco’s grand ceiling fresco (1624–25) fills the Sala della Loggia with divine spectacle. Jupiter reigns at the center, surrounded by Roman deities including Venus, Mars, Pluto, and Juno. Designed to dissolve architectural limits, the illusionistic sky transforms the ceiling into a heavenly theater of Baroque power and myth.

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

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.

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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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