Travel With Max Learn  •  Admire  •  Soar
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.

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.

Palacio de Bellas Artes

Lenin

Diego Rivera

This mural fragment (1934) shows Vladimir Lenin at the center, joining the hands of workers of different races in a dense crowd. The scene comes from Rivera’s Man at the Crossroads mural destroyed at Rockefeller Center, whose inclusion of Lenin provoked its removal. By recreating the composition at the Palacio de Bellas Artes, Rivera reaffirmed his Marxist political stance.

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.

Chateau

Temple of Love

Richard Mique

Erected in the gardens of the Petit Trianon (1778), this neoclassical rotunda shelters a sculpture of Cupid and symbolizes Marie Antoinette’s idealized vision of romance and pastoral escape. Designed by architect Richard Mique, the temple reflects Enlightenment-era aesthetics and the queen’s longing for simplicity within Versailles’ opulence.

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.

St. Ignazio di Loyola

The Apotheosis of St. Ignatius

Andrea Pozzo

Max captures The Apotheosis of St. Ignatius (1685–1694) using a viewing mirror beneath the ceiling, enhancing Pozzo’s Baroque illusionism. This optical device unveils the masterful perspective that transforms the flat vault into a celestial vision, merging art and exemplifying the Baroque fascination with perspective: a dynamic interplay between earthly and divine realms.

Chapultepec Castle (National History Museum)

Mexican War of Independence (detail)

Juan OGorman

This mural detail (1960–61) depicts Mexico’s struggle against colonial rule. At center, an Indigenous man is crucified on a tree, symbolizing the suffering of native peoples. Around him, women and children grieve, while men collapse in despair. To the right, Miguel Hidalgo in blue and José María Morelos in clerical robes embody the revolution’s leaders, joined by thinkers holding books and scrolls of Enlightenment ideals.

Pinacoteca Ambrosiana

Adoration of the Christ Child

Bramantino

In this tempera panel (c. 1485), the Milanese innovator arranges the Nativity as a cool study of space. The Child rests on a stone slab, flanked by Mary and Saints Bernardino, Francis, and Benedict, while angel musicians provide a celestial motet. Rigid perspective, sculptural figures, and an architectonic backdrop reveal Bramantino’s quest for mathematical order within devotional feeling.

Caravaggio's Roman Period

Judith Beheading Holofernes

Caravaggio

This canvas (c. 1599) painted in Rome embodies Caravaggio’s radical realism and theatrical chiaroscuro. Judith, a young widow, slays the Assyrian general Holofernes to save her people. Her calm determination contrasts with his violent death and the maid’s aged pragmatism. By staging sacred violence with unflinching naturalism, Caravaggio redefined biblical painting as a drama of human courage and divine justice.

Chiesa di Gesù

The Damned

Giovanni Battista Gaulli

In this dramatic segment (1676–79) from the Triumph of the Name of Jesus, Gaulli casts the damned from heaven into shadow and chaos. Their bodies twist, morph, and scream as they recoil from the divine light. Cloaked in darkness and shame, they contrast sharply with the radiant saved above—embodying Baroque emotion and the terrifying cost of spiritual failure.

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.

Museo Manuel Felguérez

Zacatecas Landscape with Hanged Men

Francisco Goitia

This 1914 canvas exposes the horrors of the Mexican Revolution. Two skeletal corpses hang from a barren tree, their twisted bodies blending with the lifeless landscape, while an owl perches above as a symbol of death. Goitia, who witnessed the battle of Zacatecas, rejected heroic depictions in favor of brutal realism. His work stands as both testimony and condemnation, capturing the trauma of a nation torn by war.

Museo de Arte Moderno

The Veil Torn (The Door to Heaven)

Mariano Bidó

In this mixed-media work (2018), a vast crowd moves toward a hill crowned by three crosses under a black veil of smoke. Referencing the crucifixion, the piece evokes mass devotion, suffering, and salvation. The dense humanity contrasts with the distant, divine climax—highlighting faith as both a collective journey and personal reckoning.

Galleria Borghese

Boy with a Basket of Fruit

Caravaggio

This early Baroque painting (c. 1593) merges portraiture with still life, showing Mario Minniti holding a basket of overripe fruit. Caravaggio renders blemishes and textures with unflinching realism. The sensual posture and decaying abundance evoke themes of youthful beauty, ephemerality, and temptation.

01 / 15
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.

AI Search