On our last full day in New Orleans, we spent the morning touring and sketching at the Beauregard-Keyes House. Built in 1826 by a well-to-do auctioneer, it takes its name from its most famous residents, Confederate General P.G.T. Beauregard, who lived there for some time during the mid-1860s, and author Frances Parkinson Keyes, an author who penned 51 books beginning in 1919.

During the tour, I confess I was much more interested in Mrs. Keyes than in General Beauregard, so most of the information I took away concerned her. Mrs. Keyes (pronounced to rhyme with “eyes”) rented the house in 1944 from a group of ladies who had saved the house from demolition in 1925. (They had tackled the house as a historical project because General Beauregard had lived there.) Mrs. Keyes eventually bought the house and restored both it and the formal garden, and turned the kitchen washhouse into her writing studio. For 25 years, she lived there during the winter months and wrote several of her books there, including the only one that I have read, Dinner at Antoine’s. She died there in 1970.

The house contains furniture belonging to General Beauregard and his family, as well as many items Mrs. Keyes collected throughout her life: dolls, fans, and veilleuses, described to us as nightlights, but originally used to keep a small portion of drink or semi-liquid food warm at nighttime, usually for an infant or sick person. I loved the veilleuses Mrs. Keyes collected and wanted to bring a similar one home as a souvenir, but the only ones sold in the museum gift shop were plain white and not particularly attractive. Something to look for in antiques stores, perhaps.

A veilleuse

 My favorite part of the tour was seeing Mrs. Keyes’ writing studio. (I love seeing other people’s creative spaces!) She wrote in longhand in a composition book, one of which was open on the desk. The light-filled space charmed me completely. Hmm, maybe I’d get more writing done if I had a studio like this?

Handwritten manuscript for The Chess Player

Following the house tour, we sketched in the formal garden. I always loved seeing everyone scatter to the different places that intrigued them for sketching purposes. Even when two people chose to sketch the same thing, the final products always came out looking different from each other—the “hand of the artist” in evidence.

Two sketchers at work

This trip just reinforced my love for New Orleans. Spending five days exploring different aspects of NOLA’s culture and history whetted my appetite for more. I want to go back!

All our sketchbooks. Mine is the one on the bottom left.

Have you ever visited someplace that captivated you? Were you ever able to return?

Tuesday morning, our Tours By Isabelle guide, John, drove us from the French Quarter to a plantation called Oak Alley. Oak Alley is about halfway between Baton Rouge and New Orleans, and on the way there, we took a road running along the Mississippi, lined with sugar cane fields and old plantations in various states of repair.

Sometime in the 1700s, an unknown settler built a small house, where the plantation house now stands, and planted two rows of 14 live oak trees, forming an alley leading from the house towards the Mississippi River. In 1839, a wealthy Creole sugar planter bought the property and built the home that now stands to please his young wife. However, according to our Oak Alley guide, though the planter himself loved plantation life, his wife preferred town living and escaped back to New Orleans every chance she could. Eventually, after the planter died, his wife and then his son tried unsuccessfully to run the plantation. It had to be sold to cover the family’s debts, and later fell into disrepair. (We were told that at one point, cattle broke into the home seeking shelter!) In the 1920s, Mr. and Mrs. Andrew Steward began the restoration of Oak Alley, the first example of ante-bellum restoration along the River Road. Oak Alley is now a National Historic Landmark, run by a non-profit organization. The land around it is still working acreage, leased to local farmers. In addition, a number of movies, videos, commercials and TV shows have been filmed there (for instance, Oak Alley is Louis’ homeplace in Interview With the Vampire).

View of alley from second floor balcony

After our tour and lunch, we had time to sketch. We scattered over the grounds, set up our stools, and began. (We were not allowed to sketch or take photos inside the house.)

Oak Alley was my first real taste of artistic frustration on this trip. I still consider myself a beginner at sketching on location, but found myself disappointed by my lack of ability to produce the images I had in my head. I know that is something that will come with time and practice, and I tried to adjust my expectations to fit what I was able to accomplish right then. I loved seeing my fellow travelers’ journal pages, trying hard not to be embarrassed by my own, while holding out hope that someday my own pages would look something like theirs. It’s hard to accept limitations—hardest when you think you should be able to perform a certain way. (I finished one page, and began another, so at least I didn’t give up!)

Kettle used to boil sugar cane

Oak Alley’s graceful house and peaceful grounds made a great contrast with the brilliant modernity of Mardi Gras World the day before. Maybe next time I visit, I’ll be able to do the sketch I visualized!

What is it about New Orleans—especially the French Quarter? I returned Friday night from my second visit to NOLA, this time as part of Laure Ferlita’s Imaginary Trips Made Real painting holiday, and I’m more enchanted than ever. The city continues to reveal new aspects of itself, tantalizing me with glimpses of seductive alleyways, the old and the new living side by side, snatches of music on the air, and delicious food aromas (and flavors). Despite sampling nearly every New Orleans culinary specialty, I managed to avoid gaining weight—probably because we walked nearly everywhere, racking up an average of more than 10,000 steps per day (or 87,330 steps according to my rough estimate). Just for kicks, I brought my pedometer with me and wore it every day to see how much ground we covered. (Our high: 18,877!)

Eight artists, including me, joined Laure for the trip. Though we’d never met in person, I “knew” several of the women through blogging. The camaraderie of the whole group was magical, a term I heard several people use about this experience. Laure had lined up a number of tours with opportunity for sketching afterwards, and made reservations, when possible, at some of NOLA’s iconic restaurants. I’ll write more about the trip in future posts, but to start with, I’ll share our first destination, Blaine Kern’s Mardi Gras World.

The artists at Mardi Gras World work on props and floats for Mardi Gras parades year round, beginning the day after Mardi Gras. Mardi Gras is the last day of Carnival, which begins on the Feast of Epiphany Jan. 6 and ends on the Tuesday before Ash Wednesday. Mardi Gras parades can take place any time during Carnival. Mardi Gras World produces about 600 floats per year, for about 40 of the 54 parades thrown by the New Orleans krewes each year. Each krewe chooses a different theme for its parade every year, so the only float that stays the same is the krewe’s signature float. Below are pictures of parts of the signature float of Harry Connick Jr.’s krewe, Orpheus:

"Smokey Mary"

Mardi Gras World also makes Styrofoam and fiberglass props for restaurants, billboards and other businesses, as well as props and floats for parades around the world. A few more shots of props-in-progress:

Diagram of float

Mardi Gras World was a great choice for our first day of sketching, because everything was larger-than-life, brightly-colored and just plain fun—a great atmosphere for those of us who were a little nervous about pulling out sketchbooks and watercolors and sketching in public where someone might see us. It was easy to get lost among the giant dragons, giraffes, seahorses and whatever this thing is:


If you ever find yourself in New Orleans (and I sincerely hope you do), the trip to Mardi Gras World is worth your time. Even if you don’t pull out a sketchbook.

Mardi Gras World was just the beginning of our adventures. We ate lunch at Antoine’s the second oldest restaurant in the French Quarter (opened in 1840). Antoine himself invented dishes such as Chicken Creole, Crayfish Etoufee and Shrimp Remoulade. His son Jules created, among other things, Oysters Rockefeller. We spent the afternoon taking a walking tour of the French Quarter with a guide from the Friends of the Cabildo and later walked to dinner at Mother’s.

And that was just Day 1.

(Some people say I’m “off” all the time…)

I’m in New Orleans with Laure Ferlita, attending Imaginary Trips’ first “Imaginary Trips Made Real” artist’s painting holiday. In between sketching on location, we’re exploring the history, culture and food of the Crescent City.

Hope you have a great week, and I’ll report in soon!

I returned early last week from a long weekend in New Orleans, LA with Laure Ferlita (of Imaginary Trips and the Painted Thoughts blog) and I’m wondering where to begin to write about the trip. Do I start with the food? The architecture? The history? The music? NOLA was so much more than I expected it to be.

As The Rough Guide to New Orleans aptly describes it, NOLA is a town of melancholy beauty and ebullient spirit. Founded by the French in 1718, it became part of the United States in 1803 when the Louisiana Purchase was signed at the Cabildo). After that, New Orleans grew rapidly and became the second largest port and the fourth wealthiest city in the United States.

The city’s beauty is mingled with great poverty and a level of crime that has guidebooks warning visitors to be mindful of their surroundings and avoid wandering alone, especially at night. Still, every block holds surprises, gorgeous or quirky. Laure’s description of the city nailed it: genteel, with a good dose of grit and moxie.




Any discussion of New Orleans must include reference to Katrina. I had never been to NOLA before, so had no way to compare pre- and post-hurricane conditions. Though I looked for it, I did not see the “Katrina tattoo”—the line on many buildings that marked the high point of Katrina’s floodwaters, and we didn’t stray into the Ninth Ward or the other areas that were hardest hit by the storm. (There are hurricane tours you can take, but for several reasons we chose not to do this.) The few residents we spoke with gave me the impression that they had been emotionally scarred by Katrina, but were so deeply rooted in the area they would find it nearly impossible to leave. After visiting, I believe it would be a tragedy to lose New Orleans and I applaud those who have worked so diligently to bring it back.

The French Quarter is so much more than Bourbon Street, and New Orleans is so much more than the French Quarter. Even spending 10-12 hours a day exploring, we simply didn’t have time to see everything we wanted to see—we’ve barely scratched the surface of this mysterious, multi-faceted town.

My feet still hurt.