During the Belle Époque, women were idealized in the art world. They were either diabolical (Liane de Pougy, Émilienne d'Alençon, and Otero) or angelic like Cléo de Mérode. From the Opéra de Paris to social salons, she became an icon. Cléo de Mérode posed for Degas, and her portrait was also painted by Boldini and Toulouse-Lautrec. Her Cambodian dances were a triumph at the Universal Exhibition in Paris in 1900. A film, projected on the flap of a symphonion (ancestor of the juke-box) in the Villa du Temps Retrouvé (Villa of Recovered Time) in Cabourg, shows one of her dances.