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Palacio de Bellas Artes

Carnival of Mexican Life (detail)

Diego Rivera

This scene from Carnival of Mexican Life (1936) mocks imperial and capitalist excess. Donkey-headed elites, masked peasants, and a skull-emblazoned flag form a surreal parade of corruption and resistance. Drawing on the Carnival of Huejotzingo, Rivera fuses satire, folk ritual, and political critique to expose social hypocrisy.

Palace of the Inquisition

The Lagoon of Peace

Jorge Alberto Smith Ellas

This 2021 oil and acrylic painting evokes serenity and ancestral rhythm. A golden twilight bathes the rural scene, where everyday life unfolds by a calm lagoon. The composition speaks to Colombia’s Pacific and Caribbean heritage, honoring peace through stillness, memory, and connection to the land.

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.

Palazzo Borromeo

Tapestry of Fantastical Beasts in a River

Michael Coxcie

Woven in Brussels (c.1565) in a Flemish workshop according to Coxcie's design, this tapestry depicts hybrid beasts and serpents in a dense river landscape reflecting Renaissance fascination with nature’s wildness and moral allegory, symbolizing sin and chaos before divine order.

Tintoretto, Birth of a Genius

Adam and Eve in the Garden of Eden

Tintoretto

Tintoretto’s work (1550–1553) depicts the biblical moment of temptation in the Garden of Eden. Eve, holding the forbidden fruit, entices Adam, who hesitates, capturing the tension between desire and conscience. The background suggests their impending expulsion, a consequence of their choice. Dramatic lighting highlights the figures, emphasizing their forms and the scene’s gravity.

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.

Exhibit of Master of Flammelle & Rogier van der Weyden

Christ Blessing with Virgin at Prayer

Master of Flémalle

This 15th-c. oak panel by the Master of Flémalle, often associated with Robert Campin, exemplifies early Netherlandish style. It showcases realistic detail through innovative oil paint use. The depiction of Christ blessing and the Virgin Mary at prayer reflects the era’s religious devotion and artistic innovation, marking a pivotal moment in European art’s evolution.

Museo de Arte Moderno

Uber Eats

Roger Zayas

This photo (2017), taken in the historic Marais district of Paris, captures a striking urban contrast: an elderly woman with a cane passes a food courier bent over a doorway. Zayas underscores generational divides and social invisibility, reflecting on aging and shifting economic realities in the European metropolis.

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 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.

Palacio de Bellas Artes

Man, Controller of the Universe (detail)

Diego Rivera

This section of Rivera’s 1934 recreated mural shows Lenin uniting workers of different races and nations, flanked by scientific, agricultural, and cosmic imagery. It contrasts socialism’s collective promise with capitalist individualism. The original was destroyed at Rockefeller Center.

Pinacoteca Ambrosiana

The Holy Family with Sts. Francis, Anthony, Magdalene, John and Elizabeth

Bonifazio Veronese

This oil on canvas (1525–27) shows the Holy Family seated outdoors, with Mary offering fruit to the Christ Child held by Joseph. At their side stand the young Saint John the Baptist and the Archangel Raphael guiding Tobias, who carries a fish. The combination of figures from different episodes may connect to Renaissance interest in linking domestic piety with protective intercession.

Villa Farnesina

The Wedding Banquet of Cupid and Psyche

Raphael

In this fresco (1518–19), Raphael presents the divine banquet:on the left are Neptune, Persephone, Pluto, Juno, and Jupiter receiving a drink from Ganymede. On the right sit Psyche and Cupid, gazing at each other. In the foreground, Bacchus and a young satyr pour wine, highlighting the festive nature of Cupid’s immortal union with Psyche.

Frida Kahlo Museum

Painted Orthopedic Corset

Frida Kahlo

This hand-painted leather corset (c.1944), worn by Frida Kahlo, illustrates both her physical suffering and creative defiance. After spinal injuries and repeated surgeries, Kahlo turned orthopedic braces into canvases, inscribing them with personal symbols. She transformed medical necessity into art, merging pain, identity, and resilience.

Pinacoteca Ambrosiana

Machine for Polishing Mirrors

Leonardo da Vinci

This technical drawing (c. 1490) shows Leonardo’s device for polishing concave mirrors, likely used in optical or experimental studies. Its mechanism demonstrates advanced knowledge of geometry, motion, and material tension. The design reflects his pursuit of instruments that could extend human perception through mechanical precision.

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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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