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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.

Rodel Tapaya Exhibit "Urban Labyrinth"

Instant Gratification

Rodel Tapaya

This work (2018) reinterprets the Filipino fable of The Monkey and the Turtle, placing its lesson within a crowded jungle of gambling stalls and restless figures. Monkeys embody the tale’s impatience and hunger for quick gain, while a small turtle-the steady effort outlasts reckless desire. Log piles, patterned trunks, and theatrical foliage frame a world driven by instant gratification and easy profit. Tapaya adapts indigenous storytelling to expose modern cycles of greed.

Fondation Louis Vuitton

Sudden Awakening

Zhang Huan

This large Buddha head sculpture (2006) lies fragmented on the ground, its heavy upper section slightly shifted above closed eyes and rough, ash-coated features. Formed from ash and steel, it draws on materials linked to ritual burning and industrial residue. The broken, weighty face reveals how contemporary Buddhist art confronts impermanence and the tension between spiritual ideals and material collapse.

Galleria Borghese

David

Gian Lorenzo Bernini

This marble sculpture (1623–24) captures David in a twisting stance, body coiled as his hand grips the sling. Muscles, drapery, and focused gaze all align with the implied arc of the stone. Commissioned by Cardinal Scipione Borghese, it exemplifies Baroque interest in movement and psychological intensity, turning a biblical hero into a study of concentrated action.

Duomo di Milano

St Bartholomew Flayed

Marco d’Agrate

This haunting statue of Saint Bartholomew (1562) shows the martyr after being skinned alive, wearing his own flayed skin like a cloak. The anatomical precision reveals a Renaissance fascination with the human body, while the calm expression evokes spiritual endurance beyond physical torment.

Museu Frederic Marès

The Appearance of Christ to the Disciples

Master of Cabestany

This 12th-c. Romanesque sculpture by the Master of Cabestany depicts Christ revealing himself to his disciples after the resurrection. The artist is known for figures with large heads, flat foreheads, long noses, and almond-shaped eyes. Likely from the monastery of Sant Pere de Rodes, the work exemplifies the Master of Cabestany’s influence across Southern Europe, from Tuscany to Navarre.

Pinacoteca Ambrosiana

Christ Blessing

Bernardino Luini

In this serene image of Christ (c. 1520), Luini captures divine benevolence with a gentle gesture of blessing. The soft modeling of features, rich red garment, and delicate curls echo Leonardo da Vinci’s influence, yet Luini’s style emphasizes a tranquil spirituality. The raised hand unites authority with compassion, inviting personal devotion.

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.

Museo Botero

Adam and Eve

Fernando Botero

These 1999 bronze figures reimagine the biblical first humans with Botero’s hallmark voluminous style. Their serene, exaggerated forms strip the myth of guilt and drama, offering a playful yet dignified meditation on innocence, corporeality, and the timeless tension between flesh and spirit.

Mythical Vases: The Heroes of the Jatta National Museum

Pentheus Attacked by Bacchic Women

The Oxford Group Workshop

This Apulian red-figure plate (360–350 BC) shows Pentheus arming himself against Dionysus’ cult. In myth, he is seized by Bacchic women, including his mother Agave, who mistake him for prey and tear him apart. The scene warns against impiety and defying divine power, embodying the tragic cost of resisting Dionysian ecstasy and communal worship.

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.

Museo Botero

Woman with Umbrella

Fernando Botero

A solitary figure walks through a forest, her reflection mirrored below as if suspended between worlds. Her voluminous dress and umbrella contrast with the vertical rhythm of the trees. With surreal calm and poetic symmetry, Botero (1989) transforms a simple stroll into a meditation on solitude, identity, and the quiet theatricality of everyday life.

Pinacoteca Ambrosiana

Holy Family with Saints John, Tobias, and Raphael

Bonifazio Veronese

This Venetian Renaissance oil-on-canvas work (1525–27) expands the traditional Holy Family to include St John, Tobias, and the Archangel Raphael. Rich in color and detail, it blends divine iconography with human warmth, echoing the era’s interest in sacred storytelling through vivid, earthly scenes.

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.

Caravaggio's Roman Period

The Lute Player

Caravaggio

This painting (c. 1596) portrays a young musician absorbed in performance. Before him lie a violin, scores, and fruit, symbols of sensuality and transience. Caravaggio uses natural light to animate the delicate textures of skin, cloth, and petals. The figure embodies the Renaissance ideal of harmony between music and emotion, while also hinting at life’s fragility and fleeting pleasures.

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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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