Nickolas Muray Art

Frida with Granizo, Version 2, Coyoacan by Nickolas Muray is a limited edition platinum print featuring Mexican painter Frida Kahlo with her arm wrapped around her pet deer. Edition...

Frida Painting "Me and my Parrots" by Nickolas Muray is a limited edition gelatin silver print depicting Mexican painter Frida Kahlo in front of her self portrait painting, with phot...

Frida and Diego with Hat is a limited edition black and white portrait of Mexican painters Frida Kahlo and Diego Rivera. Diego sits on a chair, holding a hat while Frida stands behin...

Frida Kahlo with Magenta Rebozo, New York is a limited edition color portrait of Mexican painter Frida Kahlo. This iconic image depicts the woman artist leaning against a wall, with ...

Frida on White Bench, New York, by Nickolas Muray is a colorful portrait of Mexican painter Frida Kahlo. This iconic image features the woman artist sitting on a white bench in fron...

Frida with Picasso Earrings is a color portrait of Frida Kahlo. She is dressed in magenta clothes with matching magenta flowers in her hair. She is wearing dangly earrings in the sha...

Frida Kahlo by Nickolas Muray is a black and white portrait of the Mexican painter Frida Kahlo leaning against a wall, with a dark scarf wrapped around her shoulders. Paper size: 20...

Frida with Cigarette by Nickolas Muray is a black and white portrait of Mexican Surrealist painter Frida Kahlo wearing flowers in her and holding a cigarette in her hand. Edition 5/...

Frida with Granizo by Nickolas Muray is a black and white portrait of Mexican surrealist painter Frida Kahlo with her pet fawn, Granizo. Platinum Print Image size: 11 x 10.5 in. Pa...

Frida in New York by Nickolas Muray features Frida Kahlo in a colorful red, yellow and blue dress with light blue bows in her hair and a cigarett...

Frida with Idol by Nickolas Muray depicts Mexican painter Frida Kahlo posing while holding a green stone carved idol in her hand. She stands in front o...

Frida in Pink and Green Blouse by Nickolas Muray is a colorful portrait of Mexican painter Frida Kahlo. Frida wears a green and pink shirt with a magenta scarf wrapped around her nec...

Edition 4/30 Titled, dated, numbered, copyright, and signed by the Nickolas Muray Estate. Nickolas Muray Photo Archives. Giclee print, 15 1/2 x 11 in. "Muray and Kahlo were at the height of their on-again, off-again, ten-year relationship when these pictures were taken. Their affair had started in 1931, after Muray was divorced from his second wife, and shortly after Kahlo’s marriage to Mexican muralist...

Edition 30/30 Titled, dated, numbered, copyright, and signed by the Nickolas Muray Estate. Nickolas Muray Photo Archives. Paper size: 20 x 16 in. Image size: 10 1/2 x 9 3/4 in. Plati...

Edition 22/30 Carbon pigment print Paper size: 17 1/2 x 22 in., Image size: 11 x 15 3/4 in. Titled, dated, numbered, and signed by Nickolas Muray's Estate Nickolas Muray Photo Archives "Muray and Kahlo were at the height of their on-again, off-again, ten-year relationship when these pictures were taken. Their affair had started in 1931, after Muray was divorced from his second wife, and shortly after Kahlo’s marriage to Mexican muralist...

Frida with Picasso Earrings is a color portrait of Frida Kahlo. She is dressed in magenta clothes with matching magenta flowers in her hair. She is wearing dangly earrings in the shape of hands. Frida is rested against a bright blue wall, with her hand gently placed on her chest. Frida with Picasso Earrings by Nickolas Muray is listed as a 13.75 x 9.5 inch carbon pigment print, with the paper size measuring 20 x 15 inches. This photograph is available in an edition of 30 through the Nickolas Muray Photo Archives. This photograph is titled, dated, numbered and signed by Nickolas Muray's Estate. Nickolas Muray (1892–1965) was a Hungarian born artist that worked in New York as a photographer, specializing in portraits of celebrities. His work was often seen in Vanity Fair magazine. Nick’s friendship with the Mexican artist, Miguel Covarrubias, lead to the introduction to Frida Kahlo when Nick visited Mexico. Diego Rivera and Frida Kahlo were introduced by Covarubbias and it was in 1931 when Nickolas and Frida’s love affair started. Later, when Frida had a solo exhibition at the renowned Julian Levy gallery...

Frida with Granizo by Nickolas Muray is a portrait of Frida Kahlo with her pet deer, Granizo. She places her hand lovingly on the deer while looking towards the viewer, with a cigare...

Frida Kahlo by Nickolas Muray is a 20 x 16 inch platinum print, available in an edition of 50. This photographs features a portrait of Frida Kahlo wearing ...

Frida and Diego with Hat by Nickolas Muray depicts a couple posing for a portrait. Frida Kahlo stands next to Diego Rivera, who is seated, holding a hat in his hand. They stand in an empty room, with a large window filling the room with natural light. Edition of 70 Titled, dated, numbered, copyright, and signed by the Nickolas Muray Estate. Nickolas Muray Photo Archives. Paper size: 14 1/4 x 14 1/4 in. Image size: 12 x 12 in. Gelatin silver print "Muray and Kahlo were at the height of their on-again, off-again, ten-year relationship when these pictures were taken. Their affair had started in 1931, after Muray was divorced from his second wife, and shortly after Kahlo’s marriage to Mexican muralist...

Frida Painting "Me and my Parrots" by Nickolas Muray is a limited edition gelatin silver print depicting Mexican painter Frida Kahlo in front of her self portrait painting, with phot...

Artist: Nickolas Muray (1892-1965) Title: ​Frida Kahlo, 1939 Year: 1939 Medium: ​Carbon Pigment Print on paper Edition: 2/30, plus proofs Size: 22 x 17.5 inches Condition: Excellent Inscription: Signed, numbered, authenticated by photographer’s estate Notes: In Nickolas Muray’s 1939 portrait of painter Frida Kahlo, a crown of purple yarn weaves in and out of her thick black hair, flyaways breaking loose from her braids. Her favorite shawl, a deep magenta rebozo, wraps around her shoulders, matching the warm flush of her cheeks and her painted nails—glints of red that call attention to the painter’s strong hands. She leans comfortably against a wall, gazing resolutely—if lovingly—at the camera. “Nick darling, I got my wonderful picture you [sent] to me, I find it even more beautiful than in New York,” Kahlo wrote in June of that year, after receiving the portrait by mail from Muray. “Diego says that it is as marvelous as a Piero della Francesca. To me it is more than that, it is a treasure, and besides, it will always remind me [of] that morning we had breakfast together.” The portrait is one of almost 90 known images Muray took of Kahlo between 1937 and 1948, a period when the painter made her most celebrated canvases, solidified her personal image, and navigated a life of growing renown, chronic illness, and temperamental love. As friends and longtime lovers, Muray and Kahlo worked collaboratively to frame and compose the photographs, several of which appear in the Brooklyn Museum’s current exhibition “Frida Kahlo: Appearances Can Be Deceiving,” which explores how the artist crafted her style and championed her identity. The images capture Kahlo’s legendary individuality and resilience, but also quieter, more vulnerable moments in the artist’s life. Muray and Kahlo first crossed paths in 1931, on the photographer’s inaugural trip to Mexico. At the time, he was a renowned celebrity portraitist who was pioneering color photography in the United States. Following a contentious divorce, he traveled south with his best friend and fellow artist, Miguel Covarrubias. Covarrubias introduced Muray to Kahlo, then an upstart painter married to the behemoth muralist Diego Rivera. Uncharacteristically for Muray, no photos survive from the trip, but evidence of his burgeoning relationship with Kahlo exists in a small note she scrawled on a doily. Its most potent line reads: “I love you like I would love an angel. You are a Lillie of the valley my love.” This trip marked the dawn of a passionate 10-year romance between the two artists, during which Muray intimately captured Kahlo in her studio and home; intertwined with friends and starcrossed lovers; wrapped in her signature ensembles; and in the throes of painting the searing, frank self-portraits that defined her life and legacy. However, as far as scholars can tell, Muray didn’t photograph Kahlo until six years into their relationship, in 1937. During a lunch at Covarrubias’s home in Tizapán, he wielded his new Kodachrome slide film and took some of the first color images of Kahlo. In one, her gaze is soft, almost smiling, as she leans against a column, wearing her trademark look inspired by traditional Tehuana dress: an embroidered huipil blouse, a patterned floor-length skirt, and a bright cluster of flowers on her head. In another image from the same day, she stands in front of Covarrubias and Rivera: Both men gaze at Kahlo, the center of attention, while she stares intently at Muray’s lens. The image seems to presage the recognition she’d soon receive. The following year, Julien Levy Gallery hosted Kahlo’s first New York solo show, and articles in Time and Vogue celebrated her as an artist in her own right—not just Rivera’s wife, as she’d been referred to previously. “Each of her paintings…has been an expression of a personal experience,” Bertram Wolfe wrote in the November 1938 issue of Vogue, pointing to the depths of emotion and autobiographical detail exposed on her canvases. “Even when she does not herself appear in a canvas she somehow pervades the picture.” In New York and Mexico City, Muray framed Kahlo as she prepared for her exhibition. In some, she is contemplative, settled casually in front of the cacti that stipple her beloved garden, or cradling a burning cigarette. In others, she radiates exuberance and determination, such as in Frida with picture frame (1938), a playful nod to her guileless self-portraits. Taken in the intimacy of Kahlo’s home, she holds an elaborate frame over her head and neck, emphasizing her traditional Mexican jewelry, pronounced eyebrows, and tenacious gaze—characteristics she meticulously cultivated and would soon define her public persona. One of her canvases, Remembrance of an Open Wound (1938), hangs over her left shoulder, conveying her identity as a painter of self. It shows the artist sitting tall in Tehuana garb, skirts hiked up to reveal a bleeding gash on her left thigh that acknowledges her physical suffering (she endured two accidents in her youth that plagued her with chronic pain) and asserts her fortitude. The painting in Muray’s image traveled with Kahlo to New York for her November show at Julien Levy, where it was on public display, along with 24 other canvases. The opening, which drew the likes of Georgia O’Keeffe and Isamu Noguchi, cemented Kahlo’s reputation as an artist reshaping both Surrealism and the tradition of self-portraiture. “I do not know whether my paintings are Surrealist or not,” she stated in 1952, “but I do know that they are the frankest expression of myself.” It was several months after Kahlo’s New York debut in early 1939 that she entered Muray’s studio to create the “Rebozo” portraits. More formal than previous images, Muray used studio lighting and the somewhat-newfangled three-color carbo process to produce hyper-saturated, luminous photos of Kahlo that embodied the glow of her newfound recognition. But even these studio-crafted images didn’t lose their intimacy: Tenderness beams from Kahlo’s eyes, and Muray lovingly articulates the vivacity, strength, and self-determination of the artist through vivid saturation and detail. Over the next nine years, Muray took a number of images of Kahlo’s life, even after their romance ended in 1941. Some, taken with a timer, capture the two lovers tucked close to each other or surrounded by friends. Others focus on the objects, creatures, and experiences that inspired Kahlo and emerged in her paintings. In Frida with Olmeca Figure (1939), she holds an ancient Olmec stone...

Edition of 50 Titled, dated, artist name, numbered, copyright and signed by Nickolas Muray's Estate Nickolas Muray Photo Archives. Paper size: 20 x 16 in., Image size: 14 x 10 3/4 i...

Frida Kahlo - The Breton Portrait by Nickolas Muray is a portrait of the Mexican painter commissioned by Andre Breton. Edition of 30 Signed by Nickolas Muray's Estate Nickolas Muray Photo Archives Nickolas Muray (1892–1965) was a Hungarian born artist that worked in New York as a photographer, specializing in portraits of celebrities. His work was often seen in Vanity Fair magazine. Nick’s friendship with the Mexican artist, Miguel Covarrubias, lead to the introduction to Frida Kahlo when Nick visited Mexico. Diego Rivera and Frida Kahlo were introduced by Covarubbias and it was in 1931 when Nickolas and Frida’s love affair started. Later, when Frida had a solo exhibition at the renowned Julian Levy gallery...

Edition of 30 Titled, dated, numbered, and signed by Nickolas Muray's Estate Nickolas Muray Photo Archives Paper size: 19 x 16 in., Image size: 12 2/3 x 9 3/4 in. "Muray and Kahlo were at the height of their on-again, off-again, ten-year relationship when these pictures were taken. Their affair had started in 1931, after Muray was divorced from his second wife, and shortly after Kahlo’s marriage to Mexican muralist...

Frida in New York by Nickolas Muray features Frida Kahlo in a colorful red, yellow and blue dress with light blue bows in her hair and a cigarett...

Edition of 30 Titled, dated, numbered and signed by Nickolas Muray's Estate Nickolas Muray Photo Archives. Paper size: 22 x 18 in., Image size: 13 3/4 x 9 1/2 in. "Muray and Kahlo w...