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Church of San Francisco

Andean Baroque Ceiling Panel

Manuel Chili (Capiscara)

This carved and gilded ceiling panel (1770–80) shows radiant faces, golden beams, and floral motifs arranged around a central sunburst. Produced in late-colonial Quito, it aligns with the Andean baroque’s celestial imagery. Caspicara joined Catholic cosmology with Indigenous conceptions of ordered, sacred geometry.

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.

Mythical Vases: The Heroes of the Jatta National Museum

Orestes and Apollo at Delphi

Painter of the Birth of Dionysus

This Apulian red-figure volute krater (410–390 BC) depicts Apollo aiding Orestes at Delphi. After avenging Agamemnon by killing Clytemnestra, Orestes seeks refuge from the Furies. Apollo's protection symbolizes divine support for justice. This piece highlights the intersection of myth and morality in ancient Greek culture.

Tintoretto, Birth of a Genius

Cain and Abel

Tintoretto

The scene (1550–53) shows the biblical story of Cain’s jealousy and the murder of his brother Abel. The work reflects the Mannerist style through sharp contrasts of light and shadow, twisting poses, and tense, compressed space. Tintoretto’s hallmark energy appears in the sweeping gestures and urgent brushwork that heighten the scene’s violence, underscoring the enduring power of biblical themes in Renaissance art.

Villa Farnesina

The Wedding Banquet of Cupid and Psyche

Raphael

In this grand fresco (1518), Raphael depicts the divine banquet celebrating the marriage of Cupid and Psyche. At the center, Jupiter and Juno preside; beside them sit Pluto, Persephone, Neptune, and Venus. Ganymede offers wine to Jupiter, while Bacchus (Dionysus), assisted by putti, pours wine at the right. The scene embodies divine harmony, joy, and the union of soul and love.

The Antonino Salinas Regional Archeological Museum

Satyr Pouring Wine

Praxiteles

This Roman marble statue is a copy of Praxiteles’ 4th-c. BC Greek original, depicting a youthful satyr, a companion of Dionysus, pouring wine. Though the pitcher and cup are missing, it captures the revelry and music linked to satyrs. Found near Naples in 1797, it exemplifies Praxiteles’ style with sinuous curves and a naturalistic pose, embodying the carefree spirit of Dionysian myth.

Museo Luis Alberto Acuña

Mural of Huitaca the Rebellious Deity

Luis Alberto Acuña

This mural (1950s) portrays Huitaca, a sensual Muisca goddess of pleasure and disorder, who defied Bochica, the culture hero who taught law, farming, and morality. Condemned for her rebellion, she was transformed into an owl. Her winged form here embodies the clash between instinct and discipline, chaos and cosmic order at the heart of Muisca belief.

Museo Botero

Leda and the Swan

Fernando Botero

This 1996 bronze sculpture reinterprets the myth in which Zeus, king of the gods, seduces or assaults Leda, Queen of Sparta, in the form of a swan. From their union, according to legend, were born Helen of Troy and other heroic figures. Botero’s voluptuous forms soften the myth’s violence, transforming it into a surreal, sensual tableau. His signature style invites reflection on desire, divinity, and the boundary between seduction and power.

Mythical Vases: The Heroes of the Jatta National Museum

The Capture of the Cretan Bull

Lycungus Painter

Heracles grapples with the Cretan bull, locking its horns as the animal lunges, while Athena and a youthful attendant stand calmly among stylized trees. The scene represents his seventh labour, subduing the bull sent by Poseidon after King Minos withheld a promised sacrifice. This Apulian red-figure volute krater (mixing bowl) (360–345 BC) reflects South Italian interest in myth as a drama of human strength under divine supervision.

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.

Villa Farnesina

The Rape of Ganymede

Baldassarre Peruzzi

This Renaissance ceiling panel (1509–14) shows Zeus, in the form of an eagle, abducting the beautiful youth Ganymede to Olympus. The myth frames the act as a moment of divine erotic desire, with Ganymede raised to immortal companionship as Zeus’s beloved. The term rape follows the Latin raptus, meaning abduction, not its modern sense.

Palacio de Bellas Artes

Man, Controller of the Universe

Diego Rivera

This mural (1934), a replica of Rivera’s censored Rockefeller Center fresco, places a worker at the symbolic axis of modernity. He guides cosmic, scientific, and political forces—flanked by socialism on the left and capitalism on the right. Lenin’s presence affirms Rivera’s Marxist ideals, asserting art’s power to envision revolutionary futures.

Palacio de Bellas Artes

Lenin and the Workers (detail)

Diego Rivera

In this vivid section of Man, Controller of the Universe (1934), Lenin extends his hand to unite workers of different races and backgrounds. His central placement amid galaxies and scientific motifs reflects Rivera’s belief in a revolutionary, rational future led by socialist ideals and global class solidarity.

Museo Luis Alberto Acuña

Mapiripana

Luis Alberto Acuña

Inspired by a myth from La Vorágine (a novel by José Eustasio Rivera), this 1950s painting depicts Mapiripana, a river spirit who guards silence and nature’s purity. When a missionary attempts to capture her, she punishes him by birthing monstrous twins—a vampire and an owl. In his final feverish agony, he sees a blue butterfly, symbol of his soul’s escape and eternal remorse.

Pinacoteca Ambrosiana

Madonna of the Towers

Bramantino

This tempera and oil painting (1515–20) presents the Madonna and Child enthroned between Saint Ambrose and Saint Michael. Set before fortified towers symbolizing Marian protection, the composition reflects Leonardo’s influence in its symmetry and restraint. Below, a toad representing the Devil lies defeated, underscoring the Virgin’s triumph over evil.

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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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