Nickolas Muray's Dancers, Toned Gelatin Silver Prints c. 1920
Nickolas Muray was many things—an immigrant, and atheist, a fashion photographer of anyone who was anyone (movie stars, athletes, dancers, presidents), a pioneer of color printing photography, an Olympic fencer, Friday Kahlo’s decade-long lover.
But the detail I love about him the most is that, early in his career, in his tiny west village apartment, he’d keep all of the lights off except for one bulb.
He said once that photography, for him, is a contract between people—a method by which to understand human nature and see—if possible (his words)—the best in people. Of course with success, and Vanity Fair campaign after campaign and Frida portrait after portrait, he lived with more than just a bare bulb lighting his home. But there’s something about living in the dark, most of the time, and then seeing—but only through your medium and your subjects—that I like to think about.
These toned gelatin silver prints taken early in his career—right around the time he moved into that west village apartment in the 20s—feel a little like I imagine he was: quietly theatrical, considered, elegant but weird around the edges.
They’re framed in new stained oak frames and with UV protected museum glass, so you can stare right into the depths of the photo without a reflection.
12 x 13.5 H
Local pick up in Hudson, or get in touch for a shipping quote, and to specify which of the two prints you’d like to purchase: freaksnewyork@gmail.com.
Nickolas Muray was many things—an immigrant, and atheist, a fashion photographer of anyone who was anyone (movie stars, athletes, dancers, presidents), a pioneer of color printing photography, an Olympic fencer, Friday Kahlo’s decade-long lover.
But the detail I love about him the most is that, early in his career, in his tiny west village apartment, he’d keep all of the lights off except for one bulb.
He said once that photography, for him, is a contract between people—a method by which to understand human nature and see—if possible (his words)—the best in people. Of course with success, and Vanity Fair campaign after campaign and Frida portrait after portrait, he lived with more than just a bare bulb lighting his home. But there’s something about living in the dark, most of the time, and then seeing—but only through your medium and your subjects—that I like to think about.
These toned gelatin silver prints taken early in his career—right around the time he moved into that west village apartment in the 20s—feel a little like I imagine he was: quietly theatrical, considered, elegant but weird around the edges.
They’re framed in new stained oak frames and with UV protected museum glass, so you can stare right into the depths of the photo without a reflection.
12 x 13.5 H
Local pick up in Hudson, or get in touch for a shipping quote, and to specify which of the two prints you’d like to purchase: freaksnewyork@gmail.com.
Nickolas Muray was many things—an immigrant, and atheist, a fashion photographer of anyone who was anyone (movie stars, athletes, dancers, presidents), a pioneer of color printing photography, an Olympic fencer, Friday Kahlo’s decade-long lover.
But the detail I love about him the most is that, early in his career, in his tiny west village apartment, he’d keep all of the lights off except for one bulb.
He said once that photography, for him, is a contract between people—a method by which to understand human nature and see—if possible (his words)—the best in people. Of course with success, and Vanity Fair campaign after campaign and Frida portrait after portrait, he lived with more than just a bare bulb lighting his home. But there’s something about living in the dark, most of the time, and then seeing—but only through your medium and your subjects—that I like to think about.
These toned gelatin silver prints taken early in his career—right around the time he moved into that west village apartment in the 20s—feel a little like I imagine he was: quietly theatrical, considered, elegant but weird around the edges.
They’re framed in new stained oak frames and with UV protected museum glass, so you can stare right into the depths of the photo without a reflection.
12 x 13.5 H
Local pick up in Hudson, or get in touch for a shipping quote, and to specify which of the two prints you’d like to purchase: freaksnewyork@gmail.com.