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Mythical Vases: The Heroes of the Jatta National Museum

The Capture of the Cretan Bull

Lycungus Painter

Heracles grapples with the Cretan bull, locking its horns as the animal lunges, while Athena and a youthful attendant stand calmly among stylized trees. The scene represents his seventh labour, subduing the bull sent by Poseidon after King Minos withheld a promised sacrifice. This Apulian red-figure volute krater (mixing bowl) (360–345 BC) reflects South Italian interest in myth as a drama of human strength under divine supervision.

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.

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.

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.

Palacio de Bellas Artes

Inframundo Maya

Rina Lazo

In this mural (2019), Lazo reimagines Xibalba—the Mayan underworld—through the lens of the Popol Vuh. The Hero Twins traverse rivers, deities oversee sacrifice and desire, and spirits haunt the sacred landscape. Blending myth and memory, the artist fuses political vision with ancestral wisdom in her final celebration of Maya cosmology.

Santa Maria in Aracoeli Basilica

Musical Angels (detail)

Pinturicchio

In this detail (1484–86), Pinturicchio paints two angelic musicians, one playing a violin and the other a wind instrument. Floating on clouds, they contribute to the celestial harmony surrounding Christ in Majesty. The graceful movement of their garments reflects Pinturicchio’s refined sense of rhythm, light, and divine celebration.

Exhibit of Master of Flammelle & Rogier van der Weyden

Mérode Altarpiece Central Panel

Robert Campin

This panel (c.1425–1428) shows Mary reading as Gabriel arrives. Domestic details carry layered meaning: the open book signals devotion, the lily purity, and the candle the Incarnation. The water jug with a white cloth evokes Mary’s virginity, while the enclosed garden glimpsed outside recalls her chastity. Named after later owners, the Mérode family, the work unites divine mystery with Flemish household realism.

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.

Frida Kahlo Museum

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.

Museo Luis Alberto Acuña

The Dog Men (Coprophagia)

Luis Alberto Acuña

This disturbing drawing (1988) shows three gaunt hybrid figures with human torsos and doglike heads crouched on all fours. Part of Acuña’s late series on distorted bodies, it examines the boundary between human and animal. The title refers to coprophagia (the consumption of excrement), which Acuña uses to articulate a vision of moral collapse and social dehumanization.

Pinacoteca Ambrosiana

Portrait of a Musician

Leonardo da Vinci

This intimate oil on panel (c. 1485) is Leonardo da Vinci’s only known male portrait. Likely depicting a court musician in Milan, the sitter clutches a sheet of music, suggesting both profession and intellect. The unfinished lower section contrasts with the intense gaze, highlighting Leonardo’s interest in capturing psychological presence over ornamental finish.

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.

Chiesa di Gesù

Triumph of the Name of Jesus

Giovanni Battista Gaulli

This dramatic fresco (1676–79) fills the nave ceiling with a celestial eruption of light and figures. At its center, divine radiance emanates from the monogram IHS, the symbol of Jesus. Saved souls rise toward the light, while sinners tumble into shadow. Blending paint and stucco, the work fuses heaven and church in Baroque theatricality.

Galleria Borghese

David

Gian Lorenzo Bernini

This electrifying sculpture (1623–24) captures David mid-swing as he prepares to strike Goliath. Commissioned by Cardinal Scipione Borghese, it breaks from static Renaissance models by freezing a moment of intense motion and psychological resolve. Bernini’s vivid realism and spiraling pose typify the Baroque celebration of drama and energy.

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.

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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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