In modern contemplation of the female figure and its social transposition there are days of commemoration, special days that highlight the essence of the woman upset and raped in her daily life. There are many examples, unfortunately, of women being raped and of the terrible events that affect them. One can cite various names that the literature “noir” history or art have handed down to us in the wake of a sad path traced for the commitment to modernity and emancipation. Today, at the dawn of the third millennium, we are still in limbo to fight with the phallic bestiality, the one that expresses itself in a frightening and infamous way by the misfit monster and the one even more slimy, latent, that comes from those who maybe are considered benevolent and “normal”.
The world has evolved but never so obviously and the disease of differences of sex and power is an integral part of social relations, it is an integral part of a torn humanity, desecrating in its inevitable absurd truth.
Here we see a neoclassical painting by a French artist, Jean Leon Gerome, who had not come out of certain schemes even opposing the new modern painting of Impressionism.
A painting that sees that juridical sense, also underestimated by modernity, that has put women over the centuries in a plane of inferiority, a plane that customs and society still tend to show with a veiled sense far away in the whole world from a substantial balanced vision.
Frine was a very rich woman immortalized for eternity as a model of beauty so much so that Praxiteles, whose lover she was, represented her as Aphrodite and whose virtues Apelle also distinguished.
Frine was in ancient Greece an hetera, a woman of companionship, a prostitute on board, who in his society also paid taxes for what he did! She was a cultured woman, she was a woman who had legally acquired the possibility of becoming a blackmailer, of being able to be an entrepreneur in the company sector, in short, an escort of today!
Frine today becomes an example of a latent misogyny present in the contemporary male as well as the expression of the winged victory of the beauty of a woman, two faces of the same coin, that of the essence of the female, the “weak” sex.
The picture represents a trial, and yes, still a trial to a woman instead of the opposite to the judges who are there to worship her! Dragged to trial by the Athenian Eutia, with the serious accusation, punishable by death, of having bathed in the sacred waters of Eleusis and of having venerated Isodaite, a new goddess.
Accused of impiety, we have old gags ready to proclaim her death, but the whole thing stops, the theatre blow of Hyperides, her defender and lover, is there to change the events, Frine is naked and the beauty induces the judges to release her!
So here is thinking through this painting how beauty is the elevation towards good? How is beauty, in its simple epiphany, the explanation of the idea of innocence?
There is always and only one way out of the abyss of carnal pulsations and of the violent possession that man shows with the virility of gesture and thought, to travel the long road of knowledge, of knowledge, of contemplation of opposites that in nature attract one another and that for balance are respected.