Welcome back to ArtHoles everybody. My name is Michael Anthony El Blachito and this is the

podcast about art and art history with someone who has no background in either topic.

I'm happy you're back and decided to sign up for wherever this story takes us after our long

trip through golden shrimps, Port Charles II in his pajamas, and the hero's journey taken by one man's fake leg.

Before we get started, I just want to thank everybody who's been rating and

reviewing on Apple Podcasts. I said it last series and I can't say it enough. It's incredibly humbling. I'm just glad people are enjoying the show and feel like they're getting something out of it.

And I hope everybody's as excited as I am to start Frida's story, it really comes out of the gate pretty hot.

We'll be meeting a lot of interesting people in this episode.

A number of them are members of the Kalo family itself.

There's a lot of family that happens to this family, and I know that's an

inelegant way of phrasing that, but there's so much that's happening here

that a few of the historians casually throw around the term trauma, which to me just sounds like family.

So to the extent that you prescribed to the idea, even partially that we are products of our

environments, let's take a peek inside this home.

The Kalo family story begins, like a lot of family stories begin, though mostly this ends

up in messy breakups with HR paperwork and occasional litigation.

It begins with an office romance.

It's around the year 1897 and we're in a quaint jewelry store in Mexico City called

La Perla and it's an office romance that's between two people who have an absurd amount of life experience for their respective ages.

The La Perla was a German-owned jewelry store and one of the employees was a woman named

Matilda Calderon.

Matilda was 24 years old, originally from Wahaca and was said

...