From http://www.tate.org.uk:

Frida Kahlo made the self-portrait the cornerstone of her art, and she manipulates her self-image as effectively before the lens as she did in the hours she spent at the canvas. Nickolas Muray's photographic portraits of the artist, including many pioneering, early colour images, have a luminous, painterly quality, described by Diego Rivera as being 'as beautiful as a Piero de la Francesca'. The lush, saturated colours do full justice to the elaborate costumes that were an intrinsic part of Kahlo’s self-image and masked the reality of her physical suffering.Kahlo met Muray in Mexico in 1931 and they began a passionate, if intermittent, affair that was to continue over several years, sustained from a distance by an exchange of paintings, photographs and ardent love letters, a selection of which are included in the book.
117pp; 23 full-colour and 28 black-and-white illustrations

ISBN 1854376160
Ref 0049719

From Publishers Weekly
"Kid, don't forget me. Write once in a while... That will be enough to know that you still remember this wench!" Khalo writes in this volume of love letters and photographs, making charming use of then contemporary English slang-her preferred mode when addressing Muray, the American glamour photographer and her lover. Reading Khalo's wildly funny tirades against Andre Breton and other French surrealists ("coocooo lunatic son of bitches") is a unique and worthwhile pleasure, but this book's finest offerings are its photographs, though the results are of uneven merit. The many casual snapshots have a patina of unearned nostalgia-an effect that will satisfy many, but leave others feeling as if they're sifting through yellowed photos in an antique store. The standout images are Muray's more formal portraits of his lover. The photographic techniques available to Muray in the late '30s and early '40s created layered colors that have an almost painted effect, and are delicious to look at now. Khalo was both a woman and a myth-complicated, challenging, talented and, perhaps, masochistic (or so the Kahlo specialist Grimberg asserts in the book's one essay)-but readers will see these qualities best through Muray's photographs, not Kahlo's letters.
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Book Description
In the fall of 1938 Frida Kahlo traveled to New York for her first solo exhibition. There she met photographer Nickolas Muray whom she had first met in Mexico, and they started a passionate affair. Muray, born in Hungary, was a successful New York fashion and commercial photographer known for his portraits of celebrities such as Fred Astaire, Marlene Dietrich, F. Scott Fitzgerald, George Bernard Shaw, Franklin D. Roosevelt, and Claude Monet. Having experimented with color from early on, Muray found his most colorful model in Frida Kahlo. Their liaison yielded a series of breathtaking, mostly color photographs, most of them never published. Our book for the first time presents a large selection of this series, with excerpts from the Kahlo/Muray correspondence and an essay by Salomon Grimberg.