Frida Kahlo through the eyes of Nickolas Muray: 50 shots on display in Rome – Rome

Roma – Frida with a melancholic look, next to Diego Rivera, the man of your life. And then Frida wrapped in one Rebozo Magenta color, carrot and symbol of her Mexico, surrounded by the same mystical appearance of a Madonna, sensual as it had never been.

“Nick, with all my fireplace, with all my love! With all my memory I think of you “ Starts the back of a print. A message that results from a mystical falling in love, which hides writing, but he explodes from the eyes of a woman in love, focusing her face on her lover who calls her to the goal.
Nick is Nickolas Muray, a naturalized American photographer who almost respectfully loved and immortalized the Mexican artist who followed her in different situations, who portray it in the wheelchair, while it is planning to paint, while holding an olmeca statement or bears the earrings in the form of pairing. He photographed it while in Tizapán, or for the cactus in his house in San Angel, he revealed several aspects of his complex and tortured personality dominated by an extraordinary inner strength.
If it is true that an image tells more than a thousand Words, then the roundup of photographs that nickolas muray created to his lover and musa frida kahlo, now on display in rome at the historical museum of infantry, lifagment or weaely or weady and weady and weaely or weaely or weaely or weaely or weaely or weady or weaely or weaely or weaely or weaely or weaely or weady or weaely or weaely or weaely or weaely or waxy or wareay or weadyy or returns and weaely or returns. Artist, or a Lover Expected and Sought, or A Wounded Wife, Restoring The Fragility Through The Objective.

Frida Kahlo through the lens of Nickolas Muray, stop | Courtesy Historical Museum of Infantry

From March 15 to July 20 Frida Kahlo through the lens of Nickolas MurayThrough about fifty black -white and color photos, taken between 1937 and 1946, from the archive of Nickolas Muray, he tells fragments of the life of a woman through the gaze of a man in love. These recordings are the strength of the Vittoria Mainoldi exhibition, even more than the reproductions of paintings and the meticulous reconstruction of clothing that wants to give back the power of communication that Frida has entrusted to a dress, an accessory or a jewel, considered slightly more than a louter aesthetic object.

“We tried to tell the person behind the artist and the art behind the person – explains Vittoria Mainoldi – trying to reconstruct the traditional way that Frida Kahlo was. Frida was an exceptional woman and an exceptional artist who made her image a message. Precies om deze reden wilden we het vertellen via het fotografische beeld “. Geproduceerd door Navigare SRL, door een Defensie School SPA -initiatief – Ministerie van Defensie, met de bescherming van de regio Lazio, de stad Rome en de ambassade van Mexico in Italië, de tentoonstelling valt precies honderd jaar uit het ongeval dat het leven van de Mexicaanse kunstenaar – Iicon, met de vele breuken, met de vele breuk zogenaamd, met de Numerous fracture, with the numerous fracture, with the many fractures, with the many fractures, with the many fractures that were for a life of suffering and pain on 17 September 1925, at the age of 18, he went to a bus to return home and was the victim of an accident.

Frida Kahlo through the lens of Nickolas Muray, stop | Courtesy Historical Museum of Infantry

The relationship between Nick and Frida, the leading thread of the route, was built after shot, starting at a meeting that happened to take place. In 1923, Nickolas Muray met the Mexican artist Miguel Covarrubias who arrived in New York with a six -month grant offered by the Mexican government. Shortly after his arrival, Covarrubias starts working for Vanity Fair – a magazine to which Muray has contributed for a few years – and they soon become friends. In 1931 Muray went on holiday to Mexico with Covarrubias and his wife Rosa. Covarrubias had been a student of Diego Rivera and is used to attend the house of the Great Mexican Muralist, and it is in this way that Nickolas Muray knows the young woman, and then almost unknown, wife: Frida Kahlo. Immediately after their first meeting, Kahlo sends a ticket to Muray that starts: “Nick, I love you like I would love an angel”. Below, in Chiosa of the message, the shape of a kiss.
The two start a love story that continues in alternative phases for the next ten years and a friendship that lasts until the death of Frida, in 1954. The first photos taken to the painter date from 1937, but the relationship between the two goes Clandstig in those first years, during the many visits to Mexico, or Kahlo in the United States.
The report starts to falter when Nick realizes that, despite the many betrayal of Rivera, Frida would never leave Diego.

Frida Kahlo through the lens of Nickolas Muray, stop | Courtesy Historical Museum of Infantry

To emphasize the depth of this link, there are a few letters, an expression of a relationship of respect. In the set -up a transcription of this epistolar exchange with a translation would have been useful to make the emotional impact of the word more direct in the visitor. In any case, the travel schedule of the exhibition is clear and well built, so that you can slowly taste the exhibited works.
A rich selection of stamps from the world dedicated to Frida and a video room with a documentary about the life of the Mexican artist and her husband Diego Rivera completes the route.
At the end of the journey, the appearance, the looks, a blue satin blouse, flowers, huipil and embroidery, cigarette smoke remains impressed. And, among everything, a message. “Choose a person who looks at you like it’s a magic.”
And maybe Nick’s photos took this magic, make it and made it coming, extremely intensely and powerful, for the contemporary audience.

The exhibition can be visited from Monday to Friday from 9.30 am to 7.30 pm, Saturday, Sunday and vacation from 9.30 am to 8.30 pm.