She had them framed with archival mats and protective glass, and they've found a new home in the dance studio, where a dozen of them flank a photograph of Van Damme. The paintings represent many of the roles Van Damme danced. He was Henry VIII, a Spanish dancer, even a rose in a particularly challenging piece called "Spectre De La Rose."
"They really are works of art. And what's really nice is they are in balletic poses," Pauley said.
Van Damme's photo and the paintings are a fitting reminder of the legacy Pauley and her dancers have inherited.
She recalls him as a teacher with exacting standards. As a dancer, you would dare not cross him.
Yet he praised good work, Pauley said, and when he did, you knew you really had accomplished something.
"I'm that way with my dancers," she said.
"He was a hard taskmaster. But when you have that, you can accomplish things beyond what you thought you could."
Some of the costumes that resulted from Fovel's designs have survived the years since the mid 1940s, and Pauley has handled them with care, occasionally using them for ballet performances but only when they are going to be worn by a dancer in a non-strenuous role.
"I'd like to preserve them in glass," she said.
Contact writer Monica Orosz at mon...@dailymail.com or 304-348-4830.