Pencil and Mascara
Three studies of Natalia Makarova made by H.I. the other day. She freeze-framed a video of her dancing The Dying Swan. H.I. has just reminded me that she had the most wing-like arms in the business.
What we both liked about Makarova - apart from her actual performances - was her down-to-earth approach to the world of ballet. No Nureyev tantrums or bullying, none of the untouchable aloofness of Margot Fonteyn (every schoolgirl's magazine heroine of the late 1950s).
I once watched an endearing documentary about her, where she chatted away with a coffee and practiced at the bar with a cigarette in her free hand.
The lower drawing reminds me of Rodin's. (H.I. says that the upper one does too.)