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Museo dell'Opera del Duomo

Madonna del colloquio

Giovanni Pisano

This half-length marble Virgin and Child (c. 1280–1284) originally stood at the south transept portal of Pisa Cathedral. Now, it captures a striking emotional exchange between mother and son. The Child gently grasps Mary’s veil, emphasizing Pisano’s innovative focus on tenderness and psychological realism in sacred art.

Galleria Borghese

Roman Civilization and the Heroic Virtue of Honor

Mariano Rossi

This illusionistic ceiling (1775) shows a vortex of gods, heroes, and allegorical figures arranged in rising spirals. Rossi organized the composition with deep foreshortening to create a theatrical Baroque panorama. The central burst of light frames scenes of conflict and ascent, indicating how Roman culture linked civic honor with collective greatness.

Château de Chantilly

Simonetta Vespucci as Cleopatra

Piero di Cosimo

This painting (c. 1480) by di Cosimo depicts Simonetta Vespucci as Cleopatra, with an asp coiled around her neck. Created posthumously, it honors Vespucci’s beauty; she died in 1476 at 23. The profile view echoes medal portraits, while the snake may symbolize her death from tuberculosis. The serene landscape and sky enhance her ethereal presence, making this work a poignant tribute.

Museo Botero

The Devil Showing Christ the Delights of the World

Álvaro Barrios

In this pop-infused lithograph (1996), Barrios reimagines Christ’s temptation with dazzling surrealism. A winged devil offers worldly pleasures—luxury, sex, and consumer goods—while Christ holds a lifebuoy, a symbol of spiritual rescue. Blending biblical narrative with pop culture, the work critiques material excess and invites reflection on salvation in an age of spectacle.

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.

Rodel Tapaya Exhibit "Urban Labyrinth"

The Comedy, Parody, and Tragedy

Rodel Tapaya

This painting (2018) from Tapaya’s Urban Labyrinth series swirls with hybrid beings, masks, and mythic figures at a chaotic table. Angelic wings, demonic grins, and spectral visages blur folk imagination with urban satire. Tapaya weaves Philippine mythology into contemporary critique, where humor and menace mirror the fractured realities of modern city life.

Caravaggio's Roman Period

The Crowning with Thorns

Caravaggio

This painting (1602–04) depicts Christ humiliated before crucifixion. Crowned with thorns and bound, he stands in silent suffering as soldiers force the reed into his hand and mock him as king. Caravaggio’s harsh chiaroscuro strips away grandeur, presenting raw cruelty and dignity in contrast. The work confronts viewers with the violence of power and the endurance of faith.

Tintoretto, Birth of a Genius

The Death of Adonis

Tintoretto's Workshop

The Death of Adonis (1550–55) captures Venus fainting at Adonis's death, diverging from Ovid’s Metamorphoses by including young women not in the original tale. Created by a Nordic artist in Tintoretto’s Venetian workshop, it blends Tintoretto’s dramatic style with the collaborator’s unique touch, evident in the expressive figures and vibrant colors. This fusion highlights the shared human themes of love and loss, inviting reflection on the timeless nature of myth and emotion.

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.

Palacio de Bellas Artes

Man, Controller of the Universe

Diego Rivera

This monumental mural (1934) shows a central worker operating a machine that aligns planetary, biological, and industrial forces. Rivera recreates and expands his destroyed Rockefeller Center fresco for a Mexican audience, filling the scene with scientists, workers, and political leaders. The contrast between capitalist luxury and organized labor articulates his Marxist belief that technology should serve collective progress.

Villa Farnesina

Council of the Gods

Raphael

In this scene (1518), Raphael depicts the gods deciding Psyche’s fate. Right to left: Minerva (helmet), Diana (with crescent moon), Jupiter (eagle below), Juno (blue robe), Neptune (trident), Pluto (bident, dog Cerberus), Venus (semi-nude, pointing), Mars (helmet). On the far left, Mercury (caduceus) leads Psyche to Olympus. Cupid kneels before Jupiter, pleading for Psyche’s immortality. The council embodies divine justice, granting the soul eternal union with love.

Villa Farnesina

The Triumph of Galatea

Raphael

In this fresco (c. 1512), Raphael transforms Galatea’s myth into a celebration of divine beauty. The sea nymph rides a shell chariot drawn by dolphins (linked to Venus), while cupids shoot arrows symbolizing love’s universal power. Though the original tale includes jealousy and tragedy, Raphael omits them, presenting an idealized vision of harmony and grace.

Galleria Borghese

The Rape of Proserpina

Gian Lorenzo Bernini

From this angle, Bernini’s technical genius is apparent. Pluto’s gripping hands sink into Proserpina’s flesh with astonishing realism, turning marble into living form. The work (1621–22) stages emotional and physical tension at its peak, embodying the Baroque goal of stirring awe, drama, and pathos in a single breathtaking moment.

Jardin des Tuileries

The Tree of Vowels

Giuseppe Penone

This monumental bronze sculpture (2000) shows a fallen oak with roots extending like veins across the ground. Installed in the Jardin des Tuileries, it demonstrates Penone’s exploration of the connection between humanity and nature. The work combines organic memory with sculptural permanence, inviting reflection on time, fragility, and the endurance of natural forms.

Galleria Borghese

Adoration of the Child (detail)

Fra Bartolomeo

This tondo or circular painting (c.1495), Mary and Joseph kneel in reverence before the infant Christ, who rests on a sack amid delicate vegetation. The ruined architecture behind them symbolizes the fall of paganism, while the balanced composition and radiant palette reflect Bartolomeo’s early embrace of Renaissance ideals.

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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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