[6] In 1912, he married Frances May (known as Patsy) and later they moved to Boston Corners, a small hamlet where Milne painted with oils and watercolours.

[8] Between the years of 1919 and 1929, Milne lived in Boston Corners and the surrounding areas, focusing his artistic work on the landscape.

During the later years of his life, Milne worked again in watercolours, and changed his subject matter to more whimsical, fantasy and childlike inspirations.

Milne was influenced in part by the European and American modernists exhibited through Alfred Stieglitz's gallery, 291.

He had thought of creating colour drypoints years before, but lacked the equipment to carry through his experiments, as the printmaking technique requires metal plates which are scratched or etched into, then inked, wiped and finally run through a printing press.

In his later years Milne began to experiment with content far removed from the simple, albeit highly original, landscapes that make up the better part of his oeuvre.

Although he had espoused a pure aestheticism in his younger years (insisting that a painting's content was merely secondary) he went on to produce a number of works that invite an allegorical interpretation.

The canvas left on his easel at the time of his death showed a group of angels childishly amusing themselves with cosmetics purchased from a wandering salesman.

[15] In 1952, works by Milne along with those of Emily Carr, Goodridge Roberts and Alfred Pellan represented Canada at the Venice Biennale.

The stamp was designed by Pierre-Yves Pelletier based on a painting in the National Gallery of Canada, Ottawa, Ontario.

[17] In a 2018 exhibition of his work at London's Dulwich Picture Gallery, the critic Jonathan Jones rated it one star out of five, "very little sign of development ... embarrassingly repetitive.

"[19] Florence Hallett writing in The Economist said, "The strikingly original Canadian used paint sparingly but to dramatic effect.