Travel With Max Learn  •  Admire  •  Soar
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.

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.

Chiesa di Gesù

The Glory of the Holy Spirit

Giovanni Battista Gaulli

This radiant fresco (c. 1679) fills the dome with concentric rings of clouds, gilded ribs, and crowded figures. At the center, the Holy Spirit appears as a white dove in a glowing medallion, encircled by saints and angels swept upward in swirling light. The painted architecture merges with the real cornice, a Baroque illusion that makes the vault seem to open into a realm of revelation.

Santa Maria in Aracoeli Basilica

St. Bernardino (detail)

Pinturicchio

In this detail (1484–1486), Pinturicchio portrays St. Bernardino holding an open book inscribed PATER MANIFESTA NOMEN TUUM OMNIBUS (Father, manifest Your name to all). His raised finger points toward heaven, symbolizing his mission to glorify the Holy Name of Jesus and promote peace amid social discord.

Villa Farnesina

Fame and Medusa's Victims

Baldassarre Peruzzi

This fresco (1511) shows Fame soaring through the sky, announcing glory with her trumpet. Below, three men and a horse emerge from the clouds, their pallor and stiffness indicating they are victims turned to stone by Medusa's gaze. The composition reflects Renaissance interest in mythology, illustrating the power of reputation and the consequences of divine encounters.

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.

Raphael - The School of Athens

Raphael and Perugino (detail)

Raphael

This section of The School of Athens (1509-11) features a rare self-portrait of Raphael (center) alongside his teacher Perugino (right). Originating from the Italian High Renaissance, the work subtly inserts the artist into the legacy of classical knowledge, aligning painters with philosophers as bearers of intellectual ideals.

Palacio de Bellas Artes

Inframundo Maya

Rina Lazo

In this mural (2019), Lazo reimagines Xibalba—the Mayan underworld—through the lens of the Popol Vuh. The Hero Twins traverse rivers, deities oversee sacrifice and desire, and spirits haunt the sacred landscape. Blending myth and memory, the artist fuses political vision with ancestral wisdom in her final celebration of Maya cosmology.

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.

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

Apollo and Daphne

Bernini

Seen from behind, Bernini’s Apollo and Daphne (1622–25) reveals the spiraling tension of flight and pursuit. Daphne’s transformation accelerates—branches burst from her hair as Apollo strains forward, barely grounded. This angle heightens the illusion of motion, capturing the myth’s fleeting climax with lyrical virtuosity.

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.

Castello Sant'Angelo

Grotesque Ceiling Decoration

Bonaccorsi Pietro (Perin del Vaga) and Rietti Domenico

This fresco (c. 16th c.) blends Renaissance whimsy with ancient Roman influence, reviving the grotesque style unearthed in Nero’s Domus Aurea. Figures with human and animal features balance symmetrical vines, mythical beasts, and theatrical masks. The composition celebrates harmony through fantasy, playfully bridging antiquity and imagination.

Museo Luis Alberto Acuña

The Witch of Zascandil

Luis Alberto Acuña

This portrait (1991) shows the Witch of Zascandil, a figure rooted in Colombian folklore. Sharp features and widened eyes create a tense, exaggerated profile. The name Zascandil refers to a trickster or wandering mischief-maker in regional stories. The image indicates how rural mythology blends satire, fear, and ancestral belief.

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