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Pinacoteca Ambrosiana

St John the Baptist

Salaino

This sensuous portrayal of John the Baptist (early 16th c.) blends spiritual solemnity with ambiguous allure. Influenced by Leonardo da Vinci, the figure’s delicate features and mysterious smile reflect a complex merging of divine grace and human beauty, inviting contemplation beyond doctrine.

Pinacoteca Ambrosiana

Mary Magdalene

Titian

This intimate portrayal of Mary Magdalene (c. 1560) captures the saint in a moment of spiritual ecstasy. Covered by cascading hair, her body becomes a vessel of penitence and divine grace. Titian’s sensual rendering reflects the Renaissance ideal of redemptive beauty and the transformative power of divine love.

Chiesa di Gesù

The Damned

Giovanni Battista Gaulli

In this dramatic segment (1676–79) from the Triumph of the Name of Jesus, Gaulli casts the damned from heaven into shadow and chaos. Their bodies twist, morph, and scream as they recoil from the divine light. Cloaked in darkness and shame, they contrast sharply with the radiant saved above—embodying Baroque emotion and the terrifying cost of spiritual failure.

Museo de Arte Moderno

The Veil Torn (The Door to Heaven)

Mariano Bidó

In this mixed-media work (2018), a vast crowd moves toward a hill crowned by three crosses under a black veil of smoke. Referencing the crucifixion, the piece evokes mass devotion, suffering, and salvation. The dense humanity contrasts with the distant, divine climax—highlighting faith as both a collective journey and personal reckoning.

Galleria Borghese

David with the Head of Goliath

Caravaggio

This haunting composition (1609–10) shows David holding Goliath’s severed head—modeled on Caravaggio himself. Rather than triumph, the mood is remorseful. The intense chiaroscuro, psychological realism, and moral ambiguity turn this biblical victory into a meditation on guilt, mortality, and inner torment.

Caravaggio's Roman Period

The Penitent Magdalene

Caravaggio

This painting (1594–95) shows Mary Magdalene seated in repentance, jewels cast aside at her feet. With downcast eyes and folded hands, she embodies both sensual beauty and spiritual transformation. Caravaggio merges naturalism with sacred symbolism, turning penitence into a deeply human, intimate moment of grace.

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.

Santa Maria in Aracoeli Basilica

Christ in Majesty

Pinturicchio

Nikolo-Dvorishchensky Cathedral (1113) rises in compact tiers with clustered domes and narrow slit windows. Its pale plaster, often pink in daylight, stands in Yaroslav’s Court, the precinct founded by Yaroslav the Wise. Commissioned by Prince Mstislav to honor St Nicholas, it shaped the civic core of the Novgorod Republic and adapted Byzantine forms locally. The white building behind is part of the 17th-c. Merchant Court complex.

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.

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.

Villa Farnesina

Fame and Medusa's Victims

Baldassarre Peruzzi

This fresco (1511) shows Fame soaring through the sky, announcing glory with her trumpet. Below, three men and a horse emerge from the clouds, their pallor and stiffness indicating they are victims turned to stone by Medusa's gaze. The composition reflects Renaissance interest in mythology, illustrating the power of reputation and the consequences of divine encounters.

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.

Pinacoteca Ambrosiana

Saint Anthony the Hermit

Jan Brueghel

This tranquil painting (early 17th c.) shows Saint Anthony seated at the mouth of a cave, gazing contemplatively toward the city and sea. The vivid flora and distant harbor contrast with his solitude, symbolizing the tension between worldly life and spiritual retreat. A vision of a sacred altar within the cave suggests divine presence in the midst of earthly temptation.

Chateau

Temple of Love

Richard Mique

Erected in the gardens of the Petit Trianon (1778), this neoclassical rotunda shelters a sculpture of Cupid and symbolizes Marie Antoinette’s idealized vision of romance and pastoral escape. Designed by architect Richard Mique, the temple reflects Enlightenment-era aesthetics and the queen’s longing for simplicity within Versailles’ opulence.

Caravaggio's Roman Period

Judith Beheading Holofernes (detail)

Caravaggio

In this dramatic scene from Judith Beheading Holofernes (c.1598), the Assyrian general Holofernes struggles in his final moments as Judith, the Jewish widow, delivers the fatal blow. Caravaggio captures his terror with a contorted face and blood spurting across the bed, while Judith's hands hold him with determination. This raw depiction distills the narrative to its core: virtue triumphing over tyranny, conveyed with intense immediacy.

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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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