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F amous for her beauty, often centered on her «nose,» she embodied what would
come to be called feminism in all its strength and femininity. Cleopatra knew how to
use her charms as much as her remarkable intelligence to fight against the growing
Roman influence in her territories.
Presented by Roman macho propaganda as a «prostitute queen,» she was worshiped
as a goddess by the Egyptians and Greeks, whose culture was more refined. In the
Middle Ages, Arab writers described her as a maternal figure, protector of her people,
erudite and learned, like the great Isis.
Since the 16th century, the West has been constantly reinventing her in literature
and art. The tragedy of her death has been fantasized and spanned the centuries,
eventually reaching the top of the Hollywood blockbuster.
Shakespeare’s writing of the tragedy of Antony and Cleopatra gave a huge boost of
popularity to the mythical story, which the greatest actresses, from Sarah Bernhardt
to Liz Taylor, seized upon with panache and glitter.
They embodied this lonely woman in this oriental elsewhere and brought this fan-
tasy to life, becoming true media headliners by popularizing her destiny.
With the proliferation of images and mass culture, Cleopatra has become a consu-
mer object, eclipsing the reality of the head of state and the learned queen.
Presumed portrait of Julius Caesar
Mid-1st century BC
Dokimeion marble (Asia Minor)
39.8 x 29 x 19.2 cm
Arles, Musée départemental Arles antique, RHO.1984.05.1943