watercolours, and changed his subject matter to more whimsical, fantasy and childlike inspirations. He continued to travel to Algonquin Park and Baptiste Lake to paint the Canadian landscape. On November 14, 1952, Milne had a stroke. Over the next year he continued to suffer from small strokes and died in the hospital in Bancroft, Ontario on December 26, 1953. Art and technique David Milne worked predominantly in oil paint, watercolour and drypoint printmaking. Like the Group of Seven, Milne primarily chose landscape as his subject matter; however, his approach to this subject was considerably less "impressionistic" than the Group's and had a more "modernist" feel. Milne was influenced in part by the European and American modernists exhibited through Alfred Stieglitz's gallery, 291. He also pushed himself to develop his own particular style that was stark yet beautiful and very expressively realized. Milne chose simple, ordinary subjects which he imbued with dignity and significance. His landscapes and still lifes reveal a decorative sense and fluidity of touch. His frequent use of black in his paintings is a characteristic trait. Often one type of object, trees for example, would be depicted in black in one part of the image and white in another creating an intriguing internal tension in the work. For Milne, white was an extension of the palette – a way to express the stillness of the landscape he was viewing. In both his watercolour and oil painting techniques, Milne was experimental in his approach. He paid careful attention to composition but also to the qualities of line, colour and texture that were revealed in his work. James Clark, a friend, supporter and patron of Milne's, sent him an etching press while he was at Boston Corners in 1926, and Milne was able to experiment with printmaking in new and unusual ways. He developed a method of making colour drypoints, printing one colour over another with different plates for each. Milne had first tried etching and drypoint while he was a student at the Art Students’ League and his idea of colour drypoint was unprecedented, as the tradition was to only use black and the white of the paper. 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.