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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.

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.

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.

Frida Kahlo Museum

Painted Orthopedic Corset

Frida Kahlo

This hand-painted leather corset (c.1944), worn by Frida Kahlo, illustrates both her physical suffering and creative defiance. After spinal injuries and repeated surgeries, Kahlo turned orthopedic braces into canvases, inscribing them with personal symbols. She transformed medical necessity into art, merging pain, identity, and resilience.

Villa Farnesina

Hercules and the Hydra

Baldassarre Peruzzi

This ceiling fresco (c. 1510) in the Hall of the Perspectives shows Hercules battling the multi-headed Hydra. The creature symbolizes the zodiac sign Cancer, aligning with the room’s astrological theme. Peruzzi demonstrates heroic virtue triumphing over chaos and earthly temptation, reflecting Renaissance ideals of order and moral strength.

Dalí Theatre-Museum

Geological Echo. La Pietà

Salvador Dalí

Dalí reinterprets Michelangelo’s La Pietà, merging sacred imagery with surreal geological forms (1982). The figures’ bodies become fragmented landscapes, symbolizing the erosion of memory and time. Created during Gala’s final years, the work reflects personal grief, exploring themes of love, loss, and the unconscious through voids that resonate with emotional depth and introspection.

Castello Sant'Angelo

Grotesque Fantasy with Beasts

Perino del Vaga, Rietti Domenico

This fresco (1545–46) shows a rainbow-like arch filled with hybrid beasts, winged creatures, feline predators, and playful putti (cherubic child figures) arranged over a pale ground. The painters adapt the Roman taste for grottesche (fantastic ornamental motifs) rediscovered in ancient ruins. Their dense fantasy best reveals how Renaissance courts used such imagery to turn walls into imaginative spectacle.

Villa Farnesina

Triumph of Galatea (detail)

Raphael

This portion (1511–12) shows Galatea, the sea nymph of Greek myth, riding a dolphin-drawn shell chariot. Around her, tritons and nereids embody the vibrant energy of the sea. Raphael’s design celebrates Galatea’s beauty and grace, while capturing the joyful movement of the marine procession.

Independence Museum

Champán en el río Magdalena

De la Rue & Torres Méndez

This 1878 lithograph depicts a champán, a flat-bottomed river raft common on the Magdalena River, propelled by Afro-Colombian workers using long poles. Wealthy passengers rest under a thatched shelter, highlighting the stark racial and class divisions of the era. The image captures both Colombia’s natural landscape and its colonial labor hierarchies in transition.

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.

National Museum of the Philippines

Planting of the First Cross

Vicente Manansala

The painting depicts the 1521 event in Cebu where Ferdinand Magellan and Spanish soldiers, with tattooed natives called pintados, planted a cross. Commissioned for the 400th anniversary of Philippine Christianization in 1965, it captures a pivotal historical moment. Manansala’s transparent cubism blends traditional and modern styles, highlighting cultural convergence. The original cross is a historical artifact in Cebu City.

Galleria Borghese

Apollo and Daphne (detail)

Gian Lorenzo Bernini

In this electrifying detail from Apollo and Daphne (1622–25), Daphne’s transformation peaks: her fingers stretch skyward as they fracture into laurel branches. Bernini’s carving achieves an uncanny fluidity—Apollo’s embrace contrasts her fleeing limbs, while bark and hair blur into motion, embodying divine metamorphosis and tragic escape.

Villa Farnesina

Venus and Capricorn

Baldassarre Peruzzi

The painting (c.1511) in the Loggia of Galatea depicts Venus, the goddess of love, on a shell surrounded by doves, symbols of love. Beside her, Capricorn, a hybrid creature, represents astrological wisdom. This artwork merges mythological beauty with cosmic symbolism, reflecting the Renaissance fascination with harmony between earthly and celestial realms. The inclusion of Capricorn underscores the era's belief in astrology's influence on human affairs.

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.

Villa Farnesina

The Wedding Banquet of Cupid and Psyche

Raphael

In this fresco (1518–19), Raphael presents the divine banquet:on the left are Neptune, Persephone, Pluto, Juno, and Jupiter receiving a drink from Ganymede. On the right sit Psyche and Cupid, gazing at each other. In the foreground, Bacchus and a young satyr pour wine, highlighting the festive nature of Cupid’s immortal union with Psyche.

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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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