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Château de Chantilly

Five Dancing Angels (detail)

Giovanni di Paolo

This detail (c.1436) comes from Giovanni di Paolo’s Five Dancing Angels. Here, three angels join hands in a celestial dance while another plays the trumpet before a golden sun, symbolizing God. Their flowing robes and rhythmic gestures convey divine harmony, reflecting the spiritual intensity of 15th-c. Sienese art.

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.

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.

Tintoretto, Birth of a Genius

Christ and the Adulteress

Tintoretto

This scene (c. 1555) is from the Gospel of John: Jesus responds to scribes and Pharisees demanding judgment on an adulterous woman. His challenge—inviting the sinless to cast the first stone—teaches mercy over condemnation. Tintoretto’s dynamic style appears in the sharp contrasts of light and shadow, elongated figures, and oblique spatial arrangement that intensify the moral tension. Classical architectural elements frame the encounter, emphasizing the conflict between legalism and redemption.

Museo Luis Alberto Acuña

Descent from the Cross

Luis Alberto Acuña

Acuña (mid-1950s) renders the moment of Christ’s body being lowered from the cross with emotional gravity and communal sorrow. The composition emphasizes solidarity in grief, surrounding Christ with figures of all ages and backgrounds, reinforcing the universality of human suffering and compassion.

Ásgrímur Jónsson Museum

Earth (Mother Earth)

Einar Jónsson

Einar Jónsson’s sculpture (1904–1908) portrays a monumental figure cradling a smaller, draped form symbolizing Earth. Blending allegory and myth, it reflects Icelandic spirituality and cultural narratives. The work embodies humanity’s protective yet dependent bond with nature, inviting reflection on cosmic order and the fragility of existence.

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Horizons

Francisco Antonio Cano

Horizontes (1913) presents an idealized vision of Colombia’s settler frontier. The man's outstretched arm signifies hope and destiny, while the woman and child convey continuity and rootedness. This work by a leading Colombian academic painter uses the peasant family to symbolize national identity and the forging of a future in the Andean landscape.

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.

Tintoretto, Birth of a Genius

Self-Portrait

Tintoretto

This self-portrait (1546–48) by Tintoretto, a leading figure of the Venetian Renaissance, presents the artist with an intense, direct gaze that suggests introspection and resolve. The subdued palette and earthy tones create a solemn mood, yet the brisk, energetic handling of paint hints at the dramatic style that defined his larger works. Emphasizing inner character over setting, the portrait later entered the Orleans Collection and was acquired for Marie Antoinette in 1785.

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.

Château de Chantilly

Expulsion from Eden

Maître des Médaillons

This French manuscript miniature (early 15th c.) shows Adam and Eve after the Fall, modestly covering themselves with leaves. An angel descends with a robe, while the Tree of Knowledge burns red above them. To the right stands a stone building, symbolizing exile from Paradise. The vivid colors and fine detail reflect late medieval devotional art.

Kyiv

St. Andrew's Church

Bartolomeo Rastrelli

St. Andrew’s Church (1747–54) crowns a Kyiv hill with gilded domes and turquoise ornament typical of late Baroque design introduced by the Italian architect Bartolomeo Rastrelli. Its dynamic composition and elaborate detailing adapt Western forms to Orthodox liturgy. The church stands as a landmark of 18th-c. imperial architecture in Eastern Europe.

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.

Pantheon

Pantheon with Macuteo Obelisk and Fountain

Filippo Barigioni

The Pantheon’s façade (118–125 AD), built under Emperor Hadrian, preserves Agrippa’s earlier inscription (M·AGRIPPA·L·F·COS·TERTIVM·FECIT - Marcus Agrippa, son of Lucius, consul for the third time, built this). Before it stands the Macuteo Obelisk from Egypt (rededicated here in 1711) and the Baroque fountain by Filippo Barigioni (1711), blending imperial Rome, Christian Rome, and papal urban renewal into one historic vista.

Museo Luis Alberto Acuña

Bochica Teaching the Muisca

Luis Alberto Acuña

This 1960-70s mural depicts Bochica, the bearded sage and civilizing hero of Muisca mythology, imparting moral and spiritual lessons. Seated before young disciples, he holds symbols of power and knowledge, including a woven banner. A revered figure, Bochica was believed to have formed the Tequendama Falls and taught the Muisca how to live harmoniously.

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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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