Christ the Redeemer
Salaì
This compelling portrait (1511), often attributed to Salaì—Leonardo’s apprentice—depicts Christ with idealized serenity and ambiguous allure. Sometimes called the male Mona Lisa, it showcases the sfumato technique pioneered by Leonardo. Though some argue it is da Vinci’s own work, its authorship remains debated. It reflects the spiritual humanism of the Renaissance and holds the record as the most expensive artwork ever sold at auction.
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.
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.
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.
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.
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.
St Bartholomew Flayed
Marco d’Agrate
This marble statue (1562) shows St Bartholomew as a flayed figure, his own skin arranged like a draped garment around an exposed muscular body. Such extreme anatomical precision draws on Renaissance study of dissected cadavers. The saint’s upright stance and calm, frontal gaze demonstrate how martyrdom could be articulated as steadfast faith rather than physical defeat.
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.
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.
Christ the Judge
Rogier van der Weyden
At the summit of the Last Judgment Altarpiece (1445–50), Christ sits enthroned on a rainbow, resting his feet on a golden globe that symbolizes dominion over the world. He raises his right hand in blessing, while his left gestures toward judgment. The sword and lily flanking him signify justice and mercy, balancing wrath with compassion. Draped in vivid red, Christ embodies divine authority, anchoring the entire altarpiece in the promise of eternal judgment and salvation.
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.
Self-Portrait with Stalin
Frida Kahlo
Painted in 1954, right before death, this political work shows Kahlo seated beside an imposing image of Stalin, whom she revered late in life. The portrait—originally titled Peace on Earth so the Marxist Science may Save the Sick and Those Oppressed by Criminal Yankee Capitalism—reflects her Marxist convictions and final artistic ideological defiance.
Detail from Retablo de la Independencia
Juan O'Gorman
This mural detail (1960–61) dramatizes colonial brutality during Mexico’s struggle for independence (1810–1821). A near-nude man is tortured before Spanish troops and clergy, symbolizing oppression. At left appear insurgent leaders Miguel Hidalgo and José María Morelos, while nobles and clerics in bright dress embody privilege. The peasants and child at right embody the pueblo whose suffering and resilience fueled the revolt for freedom.
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.
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.
“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!