Eva Perón

María Eva Duarte de Perón (Spanish pronunciation: [maˈɾi.a ˈeβa ˈðwarte ðe peˈɾon]; née Duarte; 7 May 1919 – 26 July 1952), better known as Eva "Evita" Perón, was an Argentine politician, activist, and actress who served as First Lady of Argentina from June 1946 until her death in July 1952, as the wife of Argentine President Juan Perón. She was born into poverty in the rural village of Los Toldos, in the Pampas, as the youngest of five children. In 1934, at the age of 15, she moved to the nation's capital of Buenos Aires to pursue a career as a stage, radio, and film actress. She married Perón in 1945, when he was still an army colonel, and was propelled onto the political stage when he became President of Argentina in 1946. She became a central figure of Peronism and Argentine culture because of the Eva Perón Foundation, a charitable organization perceived by many Argentinians as highly impactful.

She met Colonel Juan Perón on 22 January 1944 during a charity event at the Luna Park Stadium to benefit the victims of an earthquake in San Juan, Argentina. The two were married the following year. Juan Perón was elected President in June 1946; during the next six years, Eva Perón became powerful within the pro-Peronist trade unions, primarily for speaking on behalf of labor rights. She also ran the Ministries of Labor and Health, founded and ran the charitable Eva Perón Foundation, championed women's suffrage in Argentina, and founded and ran the nation's first large-scale female political party, the Female Peronist Party.

In 1951, Eva Perón announced her candidacy for the Peronist nomination for the office of Vice President of Argentina, receiving great support from the Peronist political base, low-income and working-class Argentines who were referred to as descamisados or "shirtless ones" (similar to the term sans-culottes during the French Revolution). Opposition from the nation's military and bourgeoisie, coupled with her declining health, ultimately forced her to withdraw her candidacy. In 1952, shortly before her death from cancer at 33, Eva Perón was given the title of "Spiritual Leader of the Nation of Argentina" by the Argentine Congress. She was given a state funeral upon her death, a prerogative generally reserved for heads of state.

Eva Perón has become a part of international popular culture, most famously as the subject of the musical Evita (1976). Cristina Álvarez Rodríguez has said that Eva Perón has never left the collective consciousness of Argentines. Cristina Fernández de Kirchner, the second female president of Argentina (after Juan Perón's third wife Isabel Perón), claims that women of her generation owe a debt to Eva Perón for "her example of passion and combativeness". Immediately after her death, mourners flocked to Buenos Aires on self-styled pilgrimages, and the city and sites associated with Eva have continued to attract pilgrims ever since.

Eva Perón's 1951 biography, La Razón de mi Vida, contains no dates or references to childhood occurrences, and does not list the location of her birth or her name at birth. According to Junín's civil registry, a birth certificate shows that one María Eva Duarte was born on May 7, 1922. Her baptismal certificate lists the date of birth as May 7, 1919 under the name Eva María Ibarguren. It is thought that in 1945 the adult Eva Perón created a forgery of her birth certificate for her marriage.

Eva Perón spent her childhood in Junín, Buenos Aires province. Her father, Juan Duarte Manechena Etchegoyen (1872–1926), was descended from French Basque immigrants. Her mother, Juana Ibarguren Nuñez (1894–1971), was descended from Spanish Basque immigrants. Juan Duarte, a wealthy rancher from nearby Chivilcoy, already had a wife Adela D'Uhart Hiriboronde and of the family eleven children there. At that time in rural Argentina, it was not uncommon for a wealthy man to have several families.

When Eva Perón was a year old, Duarte returned permanently to his legal family, leaving Juana Ibarguren and her children in abject poverty. They were forced to move to the poorest area of Junín. Los Toldos was a village in the dusty region of Las Pampas, with a reputation as a desolate place of poverty. To support herself and her children, Ibarguren sewed clothes for neighbours. The family was stigmatized by the abandonment by the father and by the illegitimate status of the children under Argentine law, and was consequently somewhat isolated. A desire to expunge this part of her life might have been a motivation for Perón to arrange the destruction of her original birth certificate in 1945.

When Duarte suddenly died, and Ibarguren and their children sought to attend his funeral, there was conflict. Although Ibarguren and the children were permitted to enter and pay their respects, they were promptly directed out of the church. Duarte's widow did not want her late husband's mistress and children at the funeral. As she was the legitimate wife, her orders were respected.

Before he abandoned Juana Ibarguren, Juan Duarte had been her sole means of support. Biographer John Barnes writes that, after this abandonment, all Duarte left to the family was a document declaring that the children were his, thus enabling them to use the Duarte surname. Soon after, Juana moved her children to a one-room apartment in Junín. To pay the rent on their single-roomed home, mother and daughters took up jobs as cooks in the houses of the local estancias.

Eventually, owing to Eva's older brother's financial help, the family moved into a bigger house, which they later transformed into a boarding house. During this time, young Eva often participated in school plays and concerts. One of her favourite pastimes was the cinema. Though Eva's mother wanted to marry her off to one of the local bachelors, Eva dreamed of becoming a famous actress. Eva's love for acting was reinforced in October 1933, when she played a small role in a school play called Arriba Estudiantes (Students Arise), which Barnes describes as "an emotional, patriotic, flag-waving melodrama". After the play, Eva was determined to become an actress.

In her autobiography, Eva explained that all the people from her town who had been to the big cities described them as "marvellous places, where nothing was given but wealth". In 1934, at 15, Eva escaped her poverty-stricken village when she ran off with a young musician to the nation's capital of Buenos Aires. The young couple's relationship ended quickly, but Eva remained in Buenos Aires. She began to pursue jobs on the stage and the radio, and she eventually became a film actress. She bleached her naturally black hair blonde, a look she maintained for the rest of her life.

It is often reported that Eva travelled to Buenos Aires by train with tango singer Agustín Magaldi. However, there is no record of the married Magaldi performing in Junín in 1934 (and, even if he had done so, he usually travelled with his wife). Eva's sisters maintain that Eva travelled to Buenos Aires with their mother. The sisters also claim that Doña Juana accompanied her daughter to an audition at a radio station and arranged for Eva to live with the Bustamante family, who were friends of the Duarte family. While the method of Eva's escape from her bleak provincial surroundings is debated, she did begin a new life in Buenos Aires.

Buenos Aires in the 1930s was known as the "Paris of South America". The centre of the city had many cafés, restaurants, theatres, movie houses, shops, and bustling crowds. In direct contrast, the 1930s were also years of great unemployment, poverty, and hunger in the capital, and many new arrivals from the interior were forced to live in tenements, boardinghouses and in outlying shanties that became known as villas miserias.

Upon arrival in Buenos Aires, Eva Duarte was faced with the difficulties of surviving without formal education or connections. The city was especially overcrowded during this period because of the migrations caused by the Great Depression. On 28 March 1935, she made her professional debut in the play Mrs. Perez (la Señora de Pérez), at the Comedias Theater.

In 1936, Eva toured nationally with a theatre company, worked as a model, and was cast in a few B-grade movie melodramas. In 1942, she experienced some economic stability when a company called Candilejas (sponsored by a soap manufacturer) hired her for a daily role in one of their radio dramas called Muy Bien, which aired on Radio El Mundo (World Radio), the most important radio station in the country at that time. Later that year, she signed a five-year contract with Radio Belgrano, which assured her a role in a popular historical-drama program called Great Women of History, in which she played Elizabeth I of England, Sarah Bernhardt, and Alexandra Feodorovna, the last Tsarina of Russia. Eventually, Eva Duarte came to co-own the radio company. By 1943, she was earning five or six thousand pesos a month, making her one of the highest-paid radio actresses in the nation. Pablo Raccioppi, who jointly ran Radio El Mundo with Eva Duarte, is said to have not liked her, but to have noted that she was "thoroughly dependable". Eva also had a short-lived film career during the Golden Age of Argentine cinema, but none of the films in which she appeared were hugely successful. In one of her last films, La cabalgata del circo (The Circus Cavalcade), Eva played a young country girl who rivalled an older woman, the movie's star, Libertad Lamarque.

On 15 January 1944, an earthquake occurred in the town of San Juan, Argentina, killing ten thousand people. In response, Juan Perón, who was then the Secretary of Labor, established a fund to raise money to aid the victims. He devised a plan to have an "artistic festival" as a fundraiser, and invited radio and film actors to participate. After a week of fundraising, all participants met at a gala held at Luna Park Stadium in Buenos Aires on 22 January 1944, to benefit earthquake victims.

At this gala, Eva Duarte first met Colonel Juan Perón. Eva promptly became Perón's girlfriend. She referred to the day she met him as her "marvellous day". Juan Perón and Eva left the gala together at around two in the morning. (Perón's first wife, Aurelia Tizón, had died of uterine cancer in 1938.)

After his release from prison, Juan Perón decided to campaign for the presidency of the nation, which he won with 54%. Eva Perón campaigned heavily for her husband during his 1946 presidential bid. Using her weekly radio show, she delivered speeches with populist rhetoric urging the poor to align themselves with Juan Perón's movement.

In 1947, Eva embarked on a much-publicized "Rainbow Tour" of Europe, meeting with numerous dignitaries and heads of state, such as Francisco Franco and Pope Pius XII. The tour had its genesis in an invitation that the Spanish leader had extended to Juan Perón; Eva decided that if Juan Perón would not accept Franco's invitation for a state visit to Spain, then she would. Argentina had only recently emerged from its "wartime quarantine", thus taking its place in the United Nations and improving relations with the United States. Therefore, a visit to Franco, with António Salazar of Portugal, the last remaining Western European authoritarian leader in power, was diplomatically frowned upon internationally. Advisers then decided that Eva should also visit other European countries in addition to Spain. This would make it seem that Eva's sympathies were not specifically with Francoist Spain. The tour was billed not as a political tour but as a non-political "goodwill" tour.

Eva was well received in Spain, where she visited the tombs of Spanish monarchs Ferdinand and Isabella in the Capilla Real de Granada. Francoist Spain had not recovered from the Spanish Civil War (the autarkic economy and the UN embargo meant that the country could not feed its people). During her visit to Spain, Eva handed out 100-peseta notes to many poor children she met on her journey. She also received from Franco the highest award given by the Spanish government, the Order of Isabella the Catholic.

Eva then visited Rome, where the reception was not as warm as it had been in Spain. Though Pope Pius XII did not give her a Papal decoration, she was allowed the time usually allotted to queens and was given a rosary.

Her next stop was France, where she met with Charles de Gaulle. She promised France two shipments of wheat.

While in France, Eva received word that George VI would not receive her when she planned to visit Britain, regardless of what his Foreign Office might advise, and that her visit would not be viewed as a state visit. Eva regarded the royal family's refusal to meet her as a snub, and canceled the trip to the UK. Eva gave "exhaustion" as the official reason for not going to Britain.

The Sociedad de Beneficencia de Buenos Aires (Society of Beneficence), a charitable organization made up of 87 society ladies, was responsible for most works of charity in Buenos Aires prior to the election of Juan Perón. At one point, the Sociedad had cared heavily for orphans and homeless women, but had slowed these activities by the time of the first term of Juan Perón. In the 1800s, the Sociedad had been supported by private contributions, largely those of the husbands of the society ladies, but by the 1940s, the Sociedad was supported by the government.

It had been the tradition of the Sociedad to elect the First Lady of Argentina as its president. However, the ladies of the Sociedad did not approve of Eva Perón's impoverished background, lack of formal education, and former career as an actress. Afraid that Perón would set a bad example for the orphans, the society ladies did not extend to Perón the position of president of their organization. It has often been said that Eva Perón had the government funding for the Sociedad cut off in retaliation. This version of events has been called into question, however, the government funding that had previously supported the Sociedad then went to support Eva Perón's own foundation. The Eva Perón Foundation began with 10,000 pesos provided by Perón herself.

In The Woman with the Whip, the first English-language biography of Eva Perón, author Mary Main writes that no account records were kept for the foundation, because it was merely a means of funneling government money into private Swiss bank accounts controlled by the Peróns. Fraser and Navarro counter these claims, writing that Ramón Cereijo, the Minister of Finance, did keep records, and that the foundation "began as the simplest response to the poverty [Perón] encountered each day in her office" and to "the appalling backwardness of social services—or charity, as it was still called—in Argentina". Crassweller writes that the foundation was supported by donations of cash and goods from the Peronist unions and private businesses, and that the General Confederation of Labour donated three man-days (later reduced to two) of salary for every worker per year. Tax on lottery and movie tickets also helped to support the foundation, as did a levy on casinos and revenue from horse races. Crassweller also notes that there were some cases of businesses being pressured to donate to the foundation, with negative repercussions resulting if requests for donations were not met.

Within a few years, the foundation's assets in cash and goods exceeded three billion pesos, or over $200 million at the exchange rate of the late 1940s. It employed 14,000 workers, of whom 6,000 were construction workers and 26 were priests. It purchased and distributed 400,000 pairs of shoes, 500,000 sewing machines, and 200,000 cooking pots annually. The foundation also gave scholarships, built homes, hospitals, and other charitable institutions. Every aspect of the foundation was under Eva Perón's supervision. The foundation also built entire communities, such as Evita City, which still exists today. Due to the works and health services of the foundation, Argentine health care became significantly more equal.

Toward the end of her life, Evita was working as many as 20 to 22 hours per day in her foundation, often ignoring Juan Perón's request that she cut back on her workload and take the weekends off. As she worked with the poor in her foundation, she developed a more outraged attitude toward the existence of poverty, saying, "Sometimes I have wished my insults were slaps or lashes. I've wanted to hit people in the face to make them see, if only for a day, what I see each day I help the people." Crassweller writes that Perón became fanatical about her work in the foundation, and felt as though she were on a crusade against the very concept and existence of poverty and social ills. "It is not surprising", writes Crassweller, "that as her public crusades and her private adorations took on a narrowing intensity after 1946, they simultaneously veered toward the transcendental." Crassweller compares Perón to Ignatius Loyola, saying she came to be akin to a one-woman Jesuit Order.

Eva Perón has often been credited with gaining the right to vote for Argentine women. While Eva did make radio addresses in support of women's suffrage and also published articles in her Democracia newspaper asking male Peronists to support women's right to vote, ultimately, the ability to grant women the right to vote was beyond Eva's powers. Eva's actions were limited to supporting a bill introduced by one of her supporters, Eduardo Colom, a bill that was eventually dropped.

A new women's suffrage bill was introduced, which the Senate of Argentina sanctioned on 21 August 1946. It was necessary to wait more than a year before the House of Representatives sanctioned it on 9 September 1947. Law 13,010 established the equality of political rights between men and women and universal suffrage in Argentina. Finally, Law 13,010 was approved unanimously. In a public celebration and ceremony, Juan Perón signed the law granting women the right to vote, and then he handed the bill to Eva, symbolically making it hers.

Eva Perón then created the Female Peronist Party, the first large female political party in the nation. By 1951, the party had 500,000 members and 3,600 headquarters across the country. While Eva Perón did not consider herself a feminist, her impact on the political life of women was decisive. Thousands of previously apolitical women entered politics because of Eva Perón. They were the first women active in Argentine politics. The combination of female suffrage and the organization of the Female Peronist Party granted Juan Perón a large majority (63 per cent) of the vote in the 1951 presidential elections.

In 1951, Eva Perón was chosen by Juan Perón as a candidate for vice-president. This move was not welcomed by some of Juan Perón's more conservative allies, to whom the possibility of Eva Perón becoming president in the event of Juan Perón's death was not acceptable.

Eva was immensely popular, particularly among working-class women. The intensity of the support she drew from the people is said to have surprised Juan Perón. The wide support Eva Perón's proposed candidacy generated indicated to him that Eva Perón had become as important a figure of the Peronist party as Juan Perón himself was.

On 22 August 1951, the aligned labor unions held a massive rally that they called the "Cabildo Abierto", a reference to the first local government of the May Revolution of 1810. The Peróns addressed the crowd from the balcony of a large scaffolding set up on the Avenida 9 de Julio, several blocks away from the Casa Rosada, the official government house of Argentina. Overhead were two large portraits of Eva and Juan Perón. It has been claimed that "Cabildo Abierto" was the largest public display of support in history for a female political figure.

She declined the invitation to run for vice-president. She said that her only ambition was that in the large chapter of history to be written about her husband, the footnotes would mention a woman who brought the "hopes and dreams of the people to the president", a woman who eventually turned those hopes and dreams into "glorious reality". In Peronist rhetoric, this event has come to be referred to as "The Renunciation", portraying Evita as having been a selfless woman in line with the Hispanic myth of marianismo.

On 7 May 1952, Evita's 33rd birthday, she was given the title of "Spiritual Leader of the Nation" by her husband.

On 4 June 1952, Evita rode with Juan Perón in a parade through Buenos Aires in celebration of his re-election as President of Argentina. Evita was by this point so ill that she was unable to stand without support. Underneath her oversized fur coat was a frame made of plaster and wire that allowed her to stand. She took a triple dose of pain medication before the parade and took another two doses when she returned home.

On 9 January 1950, Perón fainted in public and underwent surgery three days later. Although it was reported that she had undergone an appendectomy, she was actually found to have advanced cervical cancer. Fainting episodes continued through 1951 (including the evening after the "Cabildo abierto"), with extreme weakness and severe vaginal bleeding. By 1951, it had become evident that her health was rapidly deteriorating. A few months after "the Renunciation", Perón secretly underwent a radical hysterectomy, performed by the American surgeon George T. Pack

at the Memorial Sloan-Kettering Cancer Center, in an attempt to remove the cervical tumor. In 2011, a Yale neurosurgeon, Daniel E. Nijensohn, studied Evita's skull X-rays and photographic evidence and said that Perón may have been given a prefrontal lobotomy in the last months of her life "to relieve the pain, agitation and anxiety she suffered in the final months of her illness".

Péron's cervical cancer had metastasized and returned rapidly, despite the hysterectomy. She was the first Argentine to undergo chemotherapy – a novel treatment at that time. She became emaciated, weighing only 36 kg (79 lb; 5 st 9 lb) by June 1952.

Perón died at 8:25 p.m. on Saturday, 26 July 1952 at the Unzue Palace. Radio broadcasts throughout the country were interrupted with the announcement that "the Press Secretary's Office of the Presidency of the Nation fulfils its very sad duty to inform the people of the Republic that at 20:25 hours, Mrs. Eva Perón, Spiritual Leader of the Nation, died."

Immediately after Perón's death, the government suspended all official activities for several days and ordered that all flags be flown at half-staff for 10 days. Business across the country was put to a halt, as movies were stopped and patrons were asked to leave restaurants. Popular grief was overwhelming. The crowd outside of the presidential residence, where Perón died, grew dense, congesting the streets for ten blocks in each direction.

The morning after her death, while Perón's body was being moved to the Ministry of Labor Building, eight people were crushed to death in the throngs. In the following 24 hours, over 2,000 people were treated in city hospitals for injuries sustained in the rush to be near Perón as her body was being transported, and thousands more were treated on the spot. For the following two weeks, lines of people stretched for several city blocks, with mourners waiting hours to see Perón's body at the Ministry of Labor.

The streets of Buenos Aires were filled with flowers. Within a day of Perón's death, all flower shops in Buenos Aires had run out of stock. Flowers were flown in from all over the country, and as far away as Chile. Despite the fact that Perón never held a political office, she was eventually given a state funeral, usually reserved for a head of state, along with a full Catholic Requiem Mass. A memorial was held in Helsinki for the Argentine team to attend during the 1952 Summer Olympics due to Perón's death happening during those games.

On Saturday, 9 August, the body was transferred to the Congress Building for an additional day of public viewing, and a memorial service was attended by the entire Argentine legislative body. The next day, after a final Mass, the coffin was laid on a gun carriage pulled by CGT officials. It was followed by Juan Perón, his cabinet, Eva Perón's family and friends, and the delegates and representatives of the Female Peronist Party—then workers, nurses and students of the Eva Peron Foundation. Flowers were thrown from balconies and windows.

There were different interpretations of the popular mourning of Perón's death. Some reporters viewed the mourning as authentic, while others saw a public succumbing to another of the "passion plays" of the Peronist regime. Time reported that the Peronist government enforced the observance of a daily period of five minutes of mourning following a daily radio announcement.

Shortly after Perón's death, Pedro Ara, who was well known for his embalming skill, was approached to embalm the body. It is doubtful that Perón ever expressed a wish to be embalmed, which suggests that it was most likely Juan Perón's decision. Ara replaced the subject's blood with glycerine in order to preserve the organs and lend an appearance of "artistically rendered sleep".

Shortly after Perón's death, plans were made to construct a memorial in her honour. The monument, which was to be a statue of a man representing the descamisados, was projected to be larger than the Statue of Liberty. Perón's body was to be stored in the base of the monument and, in the tradition of Lenin's corpse, to be displayed for the public. While the monument was being constructed, Perón's embalmed body was displayed in her former office at the CGT building for almost two years. Before the monument to Perón was completed, Juan Perón was overthrown in a military coup, the Revolución Libertadora, in 1955. Juan Perón hastily fled the country and was unable to make arrangements to secure Eva Perón's body.

Following his flight, a military dictatorship took power. The new authorities removed Perón's body from display, and its whereabouts were unknown for 16 years. From 1955 until 1971, the military dictatorship of Argentina maintained a ban on Peronism. In 1971, the military found that Perón's body was buried in a crypt in Milan, Italy, under the name "María Maggi de Magistris". It appeared that her body had been damaged during its transport and storage, including compressions to her face and disfigurement of one of her feet due to the body having been left in an upright position.

In 1995, Tomás Eloy Martínez published Santa Evita, a fictionalised work propounding many new stories about the escapades of the corpse. Allegations that her body was the object of sexual abuse are derived from his description of an 'emotional necrophilia' by embalmers Colonel Koenig and his assistant Arancibia. Many primary and secondary references to his novel have inaccurately stated that her body was sexually abused, resulting in the widespread belief in this myth. Also included are allegations that many wax copies had been made, that the corpse had been damaged with a hammer, and that one of the wax copies was the object of an officer's sexual attentions.

In 1971, Perón's body was exhumed and flown to Spain, where Juan Perón maintained the corpse in his home. Juan Perón and his third wife, Isabel, decided to keep the corpse in their dining room on a platform near the table. In 1973, Juan Perón came out of exile and returned to Argentina, where he became president for the third time. Perón died in office in 1974. That year, the group Montoneros stole the corpse of Pedro Eugenio Aramburu, whom they had also previously kidnapped and assassinated. Montoneros then used the body of Aramburu to bargain for the repatriation of Eva Perón's body. Juan Perón's third wife, Isabel Perón, who had been elected vice-president, succeeded him, and had Eva Perón's body returned to Argentina to be displayed beside Juan Perón's body. Once Eva Perón's body had arrived in Argentina, Montoneros left Aramburu's corpse on a street in Buenos Aires. Eva Perón's body was later buried in the Duarte family tomb in La Recoleta Cemetery, Buenos Aires.

Later Argentine governments took elaborate measures to make Eva Perón's tomb secure. The tomb's marble floor has a trap door that leads to a compartment containing two coffins. Under that compartment is a second trap door and a second compartment, where Eva Perón's coffin rests.

In all of Latin America, only one other woman has aroused an emotion, devotion, and faith comparable to those awakened by the Virgin of Guadalupe. In many homes, the image of Evita is on the wall next to the Virgin.

In his essay titled "Latin America" published in The Oxford Illustrated History of Christianity, John McManners claims that the appeal and success of Eva Perón are related to Latin American mythology and concepts of divinity. McManners claims that Eva Perón consciously incorporated aspects of the theology of the Virgin and of Mary Magdalene into her public persona. Historian Hubert Herring has described Eva Perón as "perhaps the shrewdest woman yet to appear in public life in Latin America".

In a 1996 interview, Tomás Eloy Martínez referred to Eva Perón as "the Cinderella of the tango and the Sleeping Beauty of Latin America". Martínez suggested she has remained an important cultural icon for the same reasons as fellow Argentine Che Guevara:

Latin American myths are more resistant than they seem to be. Not even the mass exodus of the Cuban raft people or the rapid decomposition and isolation of Fidel Castro's regime have eroded the triumphal myth of Che Guevara, which remains alive in the dreams of thousands of young people in Latin America, Africa and Europe. Che as well as Evita symbolize certain naive, but effective, beliefs: the hope for a better world; a life sacrificed on the altar of the disinherited, the humiliated, the poor of the earth. They are myths which somehow reproduce the image of Christ.

Although not a government holiday, the anniversary of Eva Perón's death is marked by many Argentines each year. Additionally, Eva Perón has been featured on Argentine coins, and a form of Argentine currency called "Evitas" was named in her honour. Ciudad Evita (Evita City), which was established by the Eva Perón Foundation in 1947, is located just outside Buenos Aires.

By the late 20th century, Eva Perón had become the subject of numerous articles, books, stage plays, and musicals, ranging from the 1952 biography The Woman with the Whip to a 1981 TV movie titled Evita Perón starring Faye Dunaway in the title role. The most successful rendering of Eva Perón's life has been the musical production Evita. The musical began as a concept album which was co-produced by Andrew Lloyd Webber and Tim Rice in 1976, with Julie Covington in the title role. Elaine Paige was later cast in the title role when the concept album was adapted into a musical stage production in London's West End, and it won the 1978 Olivier Award for Best Performance in a Musical. In 1980, Patti LuPone won the Tony Award for Best Leading Actress in a Musical for her performance as the title character in the Broadway production. The Broadway production also won the Tony Award for Best Musical. Nicholas Fraser claims that to date, "the musical stage production has been performed on every continent except Antarctica and it has generated over $2 billion in revenue." The musical had also been brought to the West End in 2025 at the London Palladium for a limited run, directed by Jamie Lloyd and starring Rachel Zegler.

As early as 1978, the musical was considered as the basis for a movie. After a nearly 20-year production delay, Madonna was cast in the title role for the 1996 film version and she won the Golden Globe Award for "Best Actress in a Musical or Comedy". The film was also nominated for 5 Academy Awards, having won the Oscar for Best Original Song with "You Must Love Me".

In response to the American film, and in an alleged attempt to offer a more politically accurate depiction of Eva Perón's life, an Argentine film company released Eva Perón: The True Story. The production starred actress Esther Goris in the title role. This movie was the 1996 Argentine submission for the Oscar in the category of "Best Foreign Language Film," but was not accepted as a nominee.

Nicholas Fraser writes that Eva Perón is the perfect popular culture icon for our times, because her career foreshadowed what, by the late 20th century, had become common. During Perón's time, it was considered scandalous for a former entertainer to take part in public political life. Her detractors in Argentina had frequently accused her of turning public political life into show business. But by the late 20th century, Fraser claims, the public had become engrossed in the cult of celebrity, and public political life had become insignificant. In this regard, Eva Perón was perhaps ahead of her time. Fraser also writes that Perón's story is appealing to our celebrity-obsessed age because her story confirms one of Hollywood's oldest clichés, the rags to riches story. Reflecting on Eva Perón's popularity more than half a century after her death, Alma Guillermoprieto writes that, "Evita's life has evidently just begun."

Eva Perón appears on the 100 peso note, first issued in 2012, commemorating the anniversary of her death. She is also featured on a new 100 peso note, issued in 2022.

Argentina: Grand Cross with Collar of the Order of the Liberator General San Martín

Argentina: Grand Cross of Honour of the Argentine Red Cross

Bolivia: Grand Cross of the Order of the Condor of the Andes

Brazil: Grand Cross of the Order of the Southern Cross

Colombia: Grand Cross of the Order of Boyaca, Special Class

Netherlands: Dame Grand Cross of the Order of Orange-Nassau

Spain: Dame Grand Cross of the Order of Isabella the Catholic