It took many months for Milne to achieve the sparsely layered look that he envisioned with his prints, but the results were very compelling. 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. Recognition and legacy Milne began to achieve real success after Toronto-based Douglas Duncan became his dealer in 1938. The American art critic Clement Greenberg described Milne as one of the three greatest North American artists of his generation. Although he was overshadowed by the Group of Seven during his early career, Milne is now recognized as one of Canada's foremost artists. After his death, the National Gallery of Canada organized a retrospective exhibition of his work (1955–56), and then another retrospective was shown in Toronto at Hart House in 1962. In 2005, an exhibit of Milne's watercolours traveled from the British Museum to the Metropolitan Museum of Art in New York and then to the Art Gallery of Ontario. In 1952, works by Milne along with those of Emily Carr, Goodridge Roberts and Alfred Pellan represented Canada at the Venice Biennale. In June 1992 Canada Post issued 'Red Nasturtiums, David B. Milne, 1937' in the Masterpieces of Canadian art series. The stamp was designed by Pierre-Yves Pelletier based on a painting in the National Gallery of Canada, Ottawa, Ontario. 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." Art critic Mark Hudson gave it 4 stars out of 5 and wrote, "I’d rather have minor art like this, that takes you somewhere you’ve never been and from an intensely personal perspective, than much of the repetitive, conventionally "challenging" work served up as major by larger galleries." Florence Hallett writing in The Economist said, "The strikingly original Canadian used paint sparingly but to dramatic effect." See also Canadian official war artists War artist War art References Citations