Elizabeth Rosemond Taylor was born on February 27, 1932, at Heathwood, her family’s home on 8 Wildwood Road in Hampstead Garden Suburb, London. She received dual British-American citizenship at birth, as her parents, art dealer Francis Lenn Taylor (1897–1968) and retired stage actress Sara Sothern (née Sara Viola Warmbrodt, 1895–1994), were United States citizens, both originally from Arkansas City, Kansas. They moved to London in 1929 and opened an art gallery on Bond Street; their first child, a son named Howard, was born the same year.

In early 1939, the Taylors decided to return to the United States due to fear of impending war in Europe. United States ambassador Joseph P. Kennedy contacted her father, urging him to return to the US with his family. Sara and the children left first in April 1939 aboard the ocean liner SS Manhattan, and moved in with Taylor’s maternal grandfather in Pasadena, California. Francis stayed behind to close the London gallery, and joined them in December. In early 1940, he opened a new gallery in Los Angeles. After briefly living in Pacific Palisades with the Chapman family, the Taylor family settled in Beverly Hills, where the two children were enrolled in Hawthorne School.

In California, Taylor’s mother was frequently told that her daughter should audition for films. Taylor’s eyes in particular drew attention; they were blue, to the extent of appearing violet, and were rimmed by dark double eyelashes caused by a genetic mutation. Sara was initially opposed to Taylor appearing in films, but after the outbreak of war in Europe made return there unlikely, she began to view the film industry as a way of assimilating to American society. Francis Taylor’s Beverly Hills gallery had gained clients from the film industry soon after opening, helped by the endorsement of gossip columnist Hedda Hopper, a friend of the Cazalets. Through a client and a school friend’s father, Taylor auditioned for both Universal Pictures and Metro-Goldwyn-Mayer in early 1941. Both studios offered Taylor contracts, and Sara Taylor chose to accept Universal’s offer.

Taylor began her contract in April 1941 and was cast in a small role in There’s One Born Every Minute (1942). She did not receive other roles, and her contract was terminated after a year. Universal’s casting director explained her dislike of Taylor, stating that “the kid has nothing … her eyes are too old, she doesn’t have the face of a child”. Biographer Alexander Walker agrees that Taylor looked different from the child stars of the era, such as Shirley Temple and Judy Garland. Taylor later said that, “apparently, I used to frighten grown ups, because I was totally direct”.

Taylor received another opportunity in late 1942, when her father’s acquaintance, MGM producer Samuel Marx, arranged for her to audition for a minor role in Lassie Come Home (1943), which required a child actress with an English accent . After a trial contract of three months, she was given a standard seven-year contract in January 1943. Following Lassie, she appeared in minor uncredited roles in two other films set in England – Jane Eyre (1943), and The White Cliffs of Dover (1944).

National Velvet became a box-office success upon its release on Christmas 1944. Bosley Crowther of The New York Times stated that “her whole manner in this picture is one of refreshing grace”, while James Agee of The Nation wrote that she “is rapturously beautiful… I hardly know or care whether she can act or not.”

Taylor struggled with health problems for most of her life. She was born with scoliosis and broke her back while filming National Velvet in 1944. The fracture went undetected for several years, although it caused her chronic back problems. In 1956, she underwent an operation in which some of her spinal discs were removed and replaced with donated bone. Taylor was also prone to other illnesses and injuries, which often necessitated surgery; in 1961, she survived a near-fatal bout of pneumonia that required a tracheotomy.

When Taylor turned 15 in 1947, MGM began to cultivate a more mature public image for her by organizing photo shoots and interviews that portrayed her as a “normal” teenager attending parties and going on dates. Film magazines and gossip columnists also began comparing her to older actresses such as Ava Gardner and Lana Turner. Life called her “Hollywood’s most accomplished junior actress” for her two film roles that year. In the critically panned Cynthia (1947), Taylor portrayed a frail girl who defies her over-protective parents to go to the prom; in the period film Life with Father (1947), opposite William Powell and Irene Dunne, she portrayed the love interest of a stockbroker’s son.

Throughout her adult years, Taylor’s personal life, especially her eight marriages (two to the same man), drew a large amount of media attention and public disapproval. According to biographer Alexander Walker, “Whether she liked it or not … marriage is the matrix of the myth that began surrounding Elizabeth Taylor from [when she was sixteen]”. MGM organized her to date football champion Glenn Davis in 1948, and the following year, she was briefly engaged to William Pawley Jr., son of US ambassador William D. Pawley. Film tycoon Howard Hughes also wanted to marry her, and offered to pay her parents a six-figure sum of money if she were to become his wife. Taylor declined the offer, but was otherwise eager to marry young, as her “rather puritanical upbringing and beliefs” made her believe that “love was synonymous with marriage”. Taylor later described herself as being “emotionally immature” during this time due to her sheltered childhood, and believed that she could gain independence from her parents and MGM through marriage.

Taylor made the transition to adult roles when she turned 18 in 1950. In her first mature role, the thriller Conspirator (1949), she plays a woman who begins to suspect that her husband is a Soviet spy. Taylor had been only 16 at the time of its filming, but its release was delayed until March 1950, as MGM disliked it and feared it could cause diplomatic problems. Taylor’s second film of 1950 was the comedy The Big Hangover (1950), co-starring Van Johnson. It was released in May. That same month, Taylor married hotel-chain heir Conrad Hilton Jr. in a highly publicized ceremony. The event was organized by MGM, and used as part of the publicity campaign for Taylor’s next film, Vincente Minnelli’s comedy Father of the Bride (1950), in which she appeared opposite Spencer Tracy and Joan Bennett as a bride preparing for her wedding. The film became a box-office success upon its release in June, grossing $6 million worldwide, and was followed by a successful sequel, Father’s Little Dividend (1951), ten months later.

Taylor was 18 when she married Conrad “Nicky” Hilton Jr., heir to the Hilton Hotels chain, at the Church of the Good Shepherd in Beverly Hills on May 6, 1950. MGM organized the large and expensive wedding, which became a major media event. In the weeks after their wedding, Taylor realized that she had made a mistake; not only did she and Hilton have few interests in common, but he was also abusive and a heavy drinker. She was granted a divorce in January 1951, eight months after their wedding.

Taylor next starred in the romantic comedy Love Is Better Than Ever (1952). According to Alexander Walker, MGM cast her in the “B-picture” as a reprimand for divorcing Hilton in January 1951 after only nine months of marriage, which had caused a public scandal that reflected negatively on her. After completing Love Is Better Than Ever, Taylor was sent to Britain to take part in the historical epic Ivanhoe (1952), which was one of the most expensive projects in the studio’s history. She was not happy about the project, finding the story superficial and her role as Rebecca too small. Regardless, Ivanhoe became one of MGM’s biggest commercial successes, earning $11 million in worldwide rentals.

Taylor married her second husband, British actor Michael Wilding – a man 20 years her senior – in a low-key ceremony at Caxton Hall in London on February 21, 1952. She had first met him in 1948 while filming The Conspirator in England, and their relationship began when she returned to film Ivanhoe in 1951. Taylor found their age gap appealing, as she wanted “the calm and quiet and security of friendship” from their relationship; he hoped that the marriage would aid his career in Hollywood. They had two sons: Michael Howard (b. January 6, 1953) and Christopher Edward (b. February 27, 1955). As Taylor grew older and more confident in herself, she began to drift apart from Wilding, whose failing career was also a source of marital strife. When she was away filming Giant in 1955, gossip magazine Confidential caused a scandal by claiming that he had entertained strippers at their home. Taylor and Wilding announced their separation on July 18, 1956, and were divorced in January 1957.

Taylor’s first two films made under her new contract were released ten days apart in early 1954. The first was Rhapsody, a romantic film starring her as a woman caught in a love triangle with two musicians. The second was Elephant Walk, a drama in which she played a British woman struggling to adapt to life on her husband’s tea plantation in Ceylon. She had been loaned to Paramount Pictures for the film after its original star, Vivien Leigh, fell ill.

Taylor married her third husband, theater and film producer Mike Todd, in Acapulco, Guerrero, Mexico, on February 2, 1957. They had one daughter, Elizabeth “Liza” Frances (b. August 6, 1957). Todd, known for publicity stunts, encouraged the media attention to their marriage; for example, in June 1957, he threw a birthday party at Madison Square Garden, which was attended by 18,000 guests and broadcast on CBS. His death in a plane crash on March 22, 1958, left Taylor devastated. She was comforted by Todd’s and her friend, singer Eddie Fisher, with whom she soon began an affair. As Fisher was still married to actress Debbie Reynolds, the affair resulted in a public scandal, with Taylor being branded a “homewrecker”. Taylor and Fisher were married at the Temple Beth Sholom in Las Vegas on May 12, 1959; she later stated that she married him only due to her grief.

Taylor considered her next performance as Maggie the Cat in the screen adaptation of the Tennessee Williams play Cat on a Hot Tin Roof (1958) a career “high point.” But it coincided with one of the most difficult periods in her personal life. After completing Raintree Country, she had divorced Wilding and married producer Mike Todd. She had completed only two weeks of filming in March 1958, when Todd was killed in a plane crash. Although she was devastated, pressure from the studio and the knowledge that Todd had large debts led Taylor to return to work only three weeks later. She later said that “in a way … [she] became Maggie”, and that acting “was the only time I could function” in the weeks after Todd’s death.

By 1959, Taylor owed one more film for MGM, which it decided should be BUtterfield 8 (1960), a drama about a high-class sex worker, in an adaptation of a John O’Hara 1935 novel. The studio correctly calculated that Taylor’s public image would make it easy for audiences to associate her with the role. She hated the film for the same reason, but had no choice in the matter, although the studio agreed to her demands of filming in New York and casting Eddie Fisher in a sympathetic role. As predicted, BUtterfield 8 was a major commercial success, grossing $18 million in world rentals. Crowther wrote that Taylor “looks like a million dollars, in mink or in negligée”, while Variety stated that she gives “a torrid, stinging portrayal with one or two brilliantly executed passages within”. Taylor won her first Academy Award for Best Actress for her performance.

Taylor was raised as a Christian Scientist, and converted to Judaism in 1959. Although two of her husbands – Mike Todd and Eddie Fisher – were Jewish, Taylor stated that she did not convert because of them, but had wanted to do so “for a long time”, and that there was “comfort and dignity and hope for me in this ancient religion that [has] survived for four thousand years… I feel as if I have been a Jew all my life”. Walker believed that Taylor was influenced in her decision by her godfather, Victor Cazalet, and her mother, who were active supporters of Zionism during her childhood.

Following her conversion, Taylor became an active supporter of Jewish and Zionist causes. In 1959, she purchased $100,000 worth of Israeli bonds, which led to her films being banned by Muslim countries throughout the Middle East and Africa. She was also barred from entering Egypt to film Cleopatra in 1962, but the ban was lifted two years later after the Egyptian officials deemed that the film brought positive publicity for the country. In addition to purchasing bonds, Taylor helped to raise money for organizations such as the Jewish National Fund, and sat on the board of trustees of the Simon Wiesenthal Center.

After completing her MGM contract, Taylor starred in 20th Century-Fox’s Cleopatra (1963). According to film historian Alexander Doty, this historical epic made her more famous than ever before. She became the first actress to be paid $1 million for a role; Fox also granted her 10% of the film’s profits, as well as shooting the film in Todd-AO, a widescreen format for which she had inherited the rights from Mike Todd. The film’s production – characterized by costly sets and costumes, constant delays, and a scandal caused by Taylor’s extramarital affair with her co-star Richard Burton – was closely followed by the media, with Life proclaiming it the “Most Talked About Movie Ever Made”. Filming began in England in 1960, but had to be halted several times due to bad weather and Taylor’s ill health. In March 1961, she developed nearly fatal pneumonia, which necessitated a tracheotomy; one news agency erroneously reported that she had died. Once she had recovered, Fox discarded the already filmed material, and moved the production to Rome, changing its director to Joseph Mankiewicz, and the actor playing Mark Antony to Burton. Filming was finally completed in July 1962. The film’s final cost was $62 million, making it the most expensive film made up to that point.

While filming Cleopatra in Italy in 1962, Taylor began an affair with her co-star, Welsh actor Richard Burton, although Burton was also married. Rumors about the affair began to circulate in the press, and were confirmed by a paparazzi shot of them on a yacht in Ischia. According to sociologist Ellis Cashmore, the publication of the photograph was a “turning point”, beginning a new era in which it became difficult for celebrities to keep their personal lives separate from their public images. The scandal caused Taylor and Burton to be condemned for “erotic vagrancy” by the Vatican, with calls also in the US Congress to bar them from re-entering the country. Taylor was granted a divorce from Fisher on March 5, 1964 in Puerto Vallarta, Jalisco, Mexico, and married Burton 10 days later in a private ceremony at the Ritz-Carlton Montreal. Burton subsequently adopted Liza Todd and Maria Burton (b. August 1, 1961), a German orphan whose adoption process Taylor had begun while married to Fisher.

In 1966, Taylor and Burton performed Doctor Faustus for a week in Oxford to benefit the Oxford University Dramatic Society; he starred and she appeared in her first stage role as Helen of Troy, a part which required no speaking. Although it received generally negative reviews, Burton produced it as a film, Doctor Faustus (1967), with the same cast. It was also panned by critics and grossed only $600,000 in the box office. Taylor and Burton’s next project, Franco Zeffirelli’s The Taming of the Shrew (1967), which they also co-produced, was more successful. It posed another challenge for Taylor, as she was the only actor in the project with no previous experience of performing Shakespeare; Zeffirelli later stated that this made her performance interesting, as she “invented the part from scratch”. Critics found the play to be fitting material for the couple, and the film became a box-office success by grossing $12 million.

Taylor’s third film released in 1967, John Huston’s Reflections in a Golden Eye, was her first without Burton since Cleopatra. Based on a novel of the same name by Carson McCullers, it was a drama about a repressed gay military officer and his unfaithful wife. It was originally slated to co-star Taylor’s old friend Montgomery Clift, whose career had been in decline for several years due to his substance abuse problems. Determined to secure his involvement in the project, Taylor even offered to pay for his insurance. But Clift died from a heart attack before filming began; he was replaced in the role by Marlon Brando. Reflections was a critical and commercial failure at the time of its release. Taylor and Burton’s last film of the year was the adaptation of Graham Greene’s novel, The Comedians, which received mixed reviews and was a box-office disappointment.

Taylor’s career was in decline by the late 1960s. She had gained weight, was nearing middle age, and did not fit in with New Hollywood stars such as Jane Fonda and Julie Christie. After several years of nearly constant media attention, the public was tiring of Burton and her, and criticized their jet set lifestyle. In 1968, Taylor starred in two films directed by Joseph Losey – Boom! and Secret Ceremony – both of which were critical and commercial failures. The former, based on Tennessee Williams’ The Milk Train Doesn’t Stop Here Anymore, features her as an aging, serial-marrying millionaire, and Burton as a younger man who turns up on the Mediterranean island on which she has retired. Secret Ceremony is a psychological drama which also stars Mia Farrow and Robert Mitchum. Taylor’s third film with George Stevens, The Only Game in Town (1970), in which she played a Las Vegas showgirl who has an affair with a compulsive gambler, played by Warren Beatty, was unsuccessful.

The three films in which Taylor acted in 1972 were somewhat more successful. Zee and Co., which portrayed Michael Caine and her as a troubled married couple, won her the David di Donatello for Best Foreign Actress. She appeared with Burton in the adaptation of Dylan Thomas’s Under Milk Wood; although her role was small, the producers decided to give her top-billing to profit from her fame. Her third film role that year was playing a blonde diner waitress in Peter Ustinov’s Faust parody Hammersmith Is Out, her tenth collaboration with Burton. Although it was overall not successful, Taylor received some good reviews, with Vincent Canby of The New York Times writing that she has “a certain vulgar, ratty charm”, and Roger Ebert of the Chicago Sun-Times saying, “The spectacle of Elizabeth Taylor growing older and more beautiful continues to amaze the population”. Her performance won the Silver Bear for Best Actress at the Berlin Film Festival.

Taylor and Burton’s last film together was the Harlech Television film Divorce His, Divorce Hers (1973), fittingly named as they divorced the following year. Her other films released in 1973 were the British thriller Night Watch (1973) and the American drama Ash Wednesday (1973). For the latter, in which she starred as a woman who undergoes multiple plastic surgeries in an attempt to save her marriage, she received a Golden Globe nomination. Her only film released in 1974, the Italian Muriel Spark adaptation The Driver’s Seat (1974), was a failure.

Dubbed “Liz and Dick” by the media, Taylor and Burton starred together in 11 films, and led a jet-set lifestyle, spending millions on “furs, diamonds, paintings, designer clothes, travel, food, liquor, a yacht, and a jet”. Sociologist Karen Sternheimer states that they “became a cottage industry of speculation about their alleged life of excess. From reports of massive spending […] affairs, and even an open marriage, the couple came to represent a new era of ‘gotcha’ celebrity coverage, where the more personal the story, the better.” They divorced for the first time in June 1974, but reconciled, and remarried in Kasane, Botswana, on October 10, 1975. The second marriage lasted less than a year, ending in divorce in July 1976. Taylor and Burton’s relationship was often referred to as the “marriage of the century” by the media, and she later stated, “After Richard, the men in my life were just there to hold the coat, to open the door. All the men after Richard were really just company.” Soon after her final divorce from Burton, Taylor met her sixth husband, John Warner, a Republican politician from Virginia. They were married on December 4, 1976, after which Taylor concentrated on working for his electoral campaign. Once Warner had been elected to the Senate, she started to find her life as a politician’s wife in Washington, D.C., boring and lonely, becoming depressed, overweight, and increasingly addicted to prescription drugs and alcohol. Taylor and Warner separated in December 1981, and divorced a year later in November 1982.

Taylor took fewer roles after the mid-1970s, and focused on supporting the career of her sixth husband, Republican politician John Warner, a US Senator. In 1976, she participated in the Soviet-American fantasy film The Blue Bird (1976), a critical and box-office failure, and had a small role in the television film Victory at Entebbe (1976). In 1977, she sang in the critically panned film adaptation of Stephen Sondheim’s musical A Little Night Music (1977).

She also advocated for the right of Soviet Jews to emigrate to Israel, cancelled a visit to the USSR because of its condemnation of Israel due to the Six-Day War, and signed a letter protesting the United Nations General Assembly Resolution 3379 of 1975. In 1976, she offered herself as a replacement hostage after more than 100 Israeli civilians were taken hostage in the Entebbe skyjacking. She had a small role in the television film made about the incident, Victory at Entebbe (1976), and narrated Genocide (1981), an Academy Award-winning documentary about the Holocaust.

The production premiered in May 1981, and had a sold-out six-month run despite mixed reviews. Frank Rich of The New York Times wrote that Taylor’s performance as “Regina Giddens, that malignant Southern bitch-goddess … begins gingerly, soon gathers steam, and then explodes into a black and thunderous storm that may just knock you out of your seat”, while Dan Sullivan of the Los Angeles Times stated, “Taylor presents a possible Regina Giddens, as seen through the persona of Elizabeth Taylor. There’s some acting in it, as well as some personal display.” She appeared as evil socialite Helena Cassadine in the day-time soap opera General Hospital in November 1981. The following year, she continued performing The Little Foxes in London’s West End, but received largely negative reviews from the British press.

Encouraged by the success of The Little Foxes, Taylor and producer Zev Buffman founded the Elizabeth Taylor Repertory Company. Its first and only production was a revival of Noël Coward’s comedy Private Lives, starring Taylor and Burton. It premiered in Boston in early 1983, and although commercially successful, received generally negative reviews, with critics noting that both stars were in noticeably poor health – Taylor admitted herself to a drug and alcohol rehabilitation center after the play’s run ended, and Burton died the following year. After the failure of Private Lives, Taylor dissolved her theater company. Her only other project that year was television film Between Friends.

From the mid-1980s, Taylor acted mostly in television productions. She made cameos in the soap operas Hotel and All My Children in 1984, and played a brothel keeper in the historical mini-series North and South in 1985. She also starred in several television films, playing gossip columnist Louella Parsons in Malice in Wonderland (1985), a “fading movie star” in the drama There Must Be a Pony (1986), and a character based on Poker Alice in the eponymous Western (1987). She re-united with director Franco Zeffirelli to appear in his French-Italian biopic Young Toscanini (1988), and had the last starring role of her career in a television adaptation of Sweet Bird of Youth (1989), her fourth Tennessee Williams play. During this time, she also began receiving honorary awards for her career – the Cecil B. DeMille Award in 1985, and the Film Society of Lincoln Center’s Chaplin Award in 1986.

Taylor began her philanthropic efforts in 1984 by helping to organize and by hosting the first AIDS fundraiser to benefit the AIDS Project Los Angeles. In August 1985, she and Dr. Michael Gottlieb founded the National AIDS Research Foundation after her friend and former co-star Rock Hudson announced that he was dying of the disease. The following month, the foundation merged with Dr. Mathilde Krim’s AIDS foundation to form the American Foundation for AIDS Research (amfAR). As amfAR’s focus is on research funding, Taylor founded the Elizabeth Taylor AIDS Foundation (ETAF) in 1991 to raise awareness and to provide support services for people with HIV/AIDS, paying for its overhead costs herself. Since her death, her estate has continued to fund ETAF’s work, and donates 25% of royalties from the use of her image and likeness to the foundation. In addition to her work for people affected by HIV/AIDS in the United States, Taylor was instrumental in expanding amfAR’s operations to other countries; ETAF also operates internationally.

After the divorce from Warner, Taylor dated actor Anthony Geary, and was engaged to Mexican lawyer Victor Luna in 1983–1984, and New York businessman Dennis Stein in 1985. She met her seventh – and last – husband, construction worker Larry Fortensky, at the Betty Ford Center in 1988. They were married at the Neverland Ranch of her long-time friend Michael Jackson on October 6, 1991. The wedding was again subject to intense media attention, with one photographer parachuting to the ranch and Taylor selling the wedding pictures to People for $1 million, which she used to start her AIDS foundation. Taylor and Fortensky divorced in October 1996, but remained in contact for life. She attributed the split to her painful hip operations and his obsessive-compulsive disorder. In the winter of 1999, Fortensky underwent brain surgery after falling off a balcony and was comatose for six weeks; Taylor immediately notified the hospital she would personally guarantee his medical expenses. At the end of 2010, she wrote him a letter that read: “Larry darling, you will always be a big part of my heart! I’ll love you for ever.” Taylor’s last phone call with Fortensky was on February 7, 2011, one day before she checked into the hospital for what turned out to be her final stay. He told her she would outlive him. Although they had been divorced for almost 15 years, Taylor left Fortensky $825,000 in her will.

Taylor testified before the Senate and House for the Ryan White Care Act in 1986, 1990, and 1992. She persuaded President Ronald Reagan to acknowledge the disease for the first time in a speech in 1987, and publicly criticized presidents George H.W. Bush and Bill Clinton for lack of interest in combatting the disease. Taylor also founded the Elizabeth Taylor Medical Center to offer free HIV/AIDS testing and care at the Whitman-Walker Clinic in Washington, D. C., and the Elizabeth Taylor Endowment Fund for the UCLA Clinical AIDS Research and Education Center in Los Angeles. In 2015, Taylor’s business partner Kathy Ireland claimed that Taylor ran an illegal “underground network” that distributed medications to Americans suffering from HIV/AIDS during the 1980s, when the Food and Drug Administration had not yet approved them. The claim was challenged by several people, including amfAR’s former vice president for development and external affairs, Taylor’s former publicist, and activists who were involved in the Project Inform in the 1980s and 1990s.

Taylor was honored with several awards for her philanthropic work. She was made a Knight of the French Legion of Honour in 1987, and received the Jean Hersholt Humanitarian Award in 1993, the Screen Actors’ Guild Lifetime Achievement Award for Humanitarian service in 1997, the GLAAD Vanguard Award in 2000, and the Presidential Citizens Medal in 2001.

Taylor was the first celebrity to create her own collection of fragrances. In collaboration with Elizabeth Arden, Inc., she began by launching two best-selling perfumes – Passion in 1987, and White Diamonds in 1991. Taylor personally supervised the creation and production of each of the 11 fragrances marketed in her name. According to biographers Sam Kashner and Nancy Schoenberger, she earned more money through the fragrance collection than during her entire acting career, and upon her death, the British newspaper The Guardian estimated that the majority of her estimated $600 million-$1 billion estate consisted of revenue from fragrances. In 2005, Taylor also founded a jewelry company, House of Taylor, in collaboration with Kathy Ireland and Jack and Monty Abramov.

In addition, she was addicted to alcohol and prescription pain killers and tranquilizers. She was treated at the Betty Ford Center for seven weeks from December 1983 to January 1984, becoming the first celebrity to openly admit herself to the clinic. She relapsed later in the decade, and entered rehabilitation again in 1988. Taylor also struggled with her weight – she became overweight in the 1970s, especially after her marriage to Senator John Warner, and published a diet book about her experiences, Elizabeth Takes Off (1988). Taylor was a heavy smoker until she experienced a severe bout of pneumonia in 1990.

Taylor’s health increasingly declined during the last two decades of her life, and she rarely attended public events after about 1996. Taylor had serious bouts of pneumonia in 1990 and 2000, underwent hip replacement surgery in the mid-1990s, underwent surgery for a benign brain tumor in 1997, and was successfully treated for skin cancer in 2002. She used a wheelchair due to her back problems, and was diagnosed with congestive heart failure in 2004. Six weeks after being hospitalized, she died of the illness at age 79 on March 23, 2011, at the Cedars-Sinai Medical Center in Los Angeles. Her funeral took place the following day at the Forest Lawn Memorial Park in Glendale, California. The service was a private Jewish ceremony presided over by Rabbi Jerome Cutler. At Taylor’s request, the ceremony began 15 minutes behind schedule, as, according to her representative, “She even wanted to be late for her own funeral”. She was entombed in the cemetery’s Great Mausoleum.

Her last theatrically released film was in the critically panned, but commercially very successful, The Flintstones (1994), in which she played Pearl Slaghoople in a brief supporting role. Taylor received American and British honors for her career: the AFI Life Achievement Award in 1993, the Screen Actors Guild honorary award in 1997, and a BAFTA Fellowship in 1999. In 2000, she was appointed a Dame Commander in the chivalric Order of the British Empire in the millennium New Year Honours List by Queen Elizabeth II. After supporting roles in the television film These Old Broads (2001) and in the animated sitcom God, the Devil and Bob (2001), Taylor announced that she was retiring from acting to devote her time to philanthropy. She gave one last public performance in 2007 when, with James Earl Jones, she performed the play Love Letters at an AIDS benefit at the Paramount Studios.

In the 1990s, Taylor focused her time on HIV/AIDS activism. Her few acting roles included characters in the animated series Captain Planet and the Planeteers (1992) and The Simpsons (1992, 1993), and cameos in four CBS series – The Nanny, Can’t Hurry Love, Murphy Brown, and High Society – in one night in February 1996 to promote her new fragrance.

Taylor collected jewelry through her life, and owned the 33.19-carat (6.638 g) Krupp Diamond, the 69.42-carat (13.884 g) Taylor-Burton Diamond, and the 50-carat (10 g) La Peregrina Pearl, all three of which were gifts from husband Richard Burton. She also published a book about her collection, My Love Affair with Jewelry, in 2002. Taylor helped to popularize the work of fashion designers Valentino Garavani and Halston. She received a Lifetime of Glamour Award from the Council of Fashion Designers of America (CFDA) in 1997. After her death, her jewelry and fashion collections were auctioned by Christie’s to benefit her AIDS foundation, ETAF. The jewelry sold for a record-breaking sum of $156.8 million, and the clothes and accessories for a further $5.5 million.

Taylor lived at 700 Nimes Road in the Bel Air district of Los Angeles from 1982 until her death in 2011. The art photographer Catherine Opie created an eponymous photographic study of the house in 2011.