What inspires Justine’s art? Many things! People, places, experiences, word play, in general life. On this page we will highlight Justine’s art and the inspirations behind them. Enjoy the discovery!
Dame Margo Fonteyn - Inspiration for Margo, Goddess of the Dance
Margo - The Goddess of the Dance
Margot Fonteyn - Prima Ballerina Assoluto of the Royal Ballet
As a young girl Justine danced ballet and loved the dancers who brought stories like Romeo and Juliet and Sleeping Beauty to life. One dancer she admired not only for her graceful movement onstage, but also for her inventiveness, courage and dedication to dance was Margot Fonteyn. The first English ballerina to became an international star. Justine’s sculpture, Margo, Goddess of the Dance, was inspired by this beautiful woman who shared her gifts with the world for over 45 years retiring at the age of 60. To learn more about Dame Margot, please see her biography below. To share in Justine’s inspiration, visit the Goddess Collection and bring Margo, Goddess of the Dance into your life.
Prima Ballerina Assoluto - Dame Margo Fonteyn
Royal Ballet Prima Ballerina Assoluta Margot Fonteyn (1919–91) was an iconic figure in British ballet. With Ninette de Valois and Frederick Ashton she was instrumental in shaping the Company, and was particularly renowned for her performances in the classics and as a muse for Ashton. Her dance partnership with Rudolf Nureyev towards the end of her career won them both worldwide fame.
Fonteyn was born Margaret Hookham in Reigate. She started ballet lessons aged four in Ealing. In 1928 her family moved to China, where she studied in Shanghai under George Goncharov. She returned to England in 1933 to study under Serfina Astafieva and in 1934 joined Sadler’s Wells School. While a student she made her debut with Vic-Wells Ballet and made her solo debut that year as Young Tregennis (De Valois’ The Haunted Ballroom). When Alicia Markova left the Company in 1935 Fonteyn took over many of her roles and went on to develop a great partnership with Robert Helpmann in the classical ballets. She was reaching the end of her career when she first performed with Nureyev in Giselle in February 1962. Through Nureyev Fonteyn discovered new resources, and their partnership became one of the most famed in ballet’s history.
Fonteyn’s dancing was distinguished by its perfect line and exquisite lyricism, qualities evident in the roles created on her by Ashton. These include Ondine, Cinderella, Chloë, Marguerite and roles in Symphonic Variations and Homage to The Queen.