David Brown Milne, after several years of working on his own, following his separation from his first wife “Patsy” May Hagerty in 1931, met the nurse Kathleen “Wyb” Pavey in 1938. This meeting was to bring about a pivotal change in Milne’s life. He lived with Pavey from 1939 and, in 1941, their son, David Milne Jr., was born. Although Milne did not directly depict his son within his work, items like “baby bottles and toys became part of his still lives.”[1]

Blocks and Flowers (Train II) was likely painted in 1943, following three watercolour versions of the subject. Two of these earlier watercolours were trimmed by Milne, likely because he was unhappy with the compositions. Nasturtiums (catalogue raisonné #404.38) and Zinnias and Jar (#404.39), both dating to September 1943, each include only part of the overall composition. A complete watercolour, Train I (#404.40), includes most of the elements seen in the oil composition. Although the oil was probably executed in 1943, the painting was not signed until 1946. The signature was likely in preparation for the work’s inclusion in two exhibitions the following year. The first of these was at the Picture Loan Society, run by Milne’s dealer Douglas Duncan. Flower Paintings by David Milne, which ran from March 1 to 14, 1947, placed greater emphasis on the painting of the flowers within the composition. The second exhibition, simply entitled David Milne, ran at the University of Toronto’s student building, Hart House, from November 1 to 15.

Blocks and Flowers (Train II) is a wonderful example of Milne’s subtle genius as a painter. The composition includes two rows of simply delineated blocks and three vases or jars, two containing vivid bunches of pansies, nasturtiums and zinnias. The foreground blocks and round vase form an imaginary train that is headed by an engine built of four small wooden blocks. One can easily see that this arrangement might delight a young child, although the assemblage would have been too complex for the youngest member of the family to play with. Milne, in this composition, has hinted at the life of his family in Uxbridge, but his son and companion are not the subjects of his work.

A large jar at right, partially filled with water, provides a visual bridge between the row of blocks and the vase in the rear centre of the image. Milne has made this empty jar visually appealing by using a reflection and a strong vertical of orange, which visually echoes the imaginary smokestack of the block train in the foreground. Next to the empty jar is what appears to be a metal vase, the surface of which is defined by the deep shadows cast by the zinnias.

Although it is very loosely denoted, Milne has paid close attention to the varied colours of the background, which serve to highlight the foreground blocks and flowers. Note, for example, the splash of orange that highlights the nasturtium hovering above the foreground vase, or the pink of the zinnias that reappears in the train engine’s cab.

Blocks and Flowers (Train II) is a vivid example of Milne’s great skill as both a colourist and a designer. The eye is led through this rich composition using line and colour. The interruption in the pattern of the blocks makes the imaginary train more vivid and encourages the viewer to explore the pictorial space with Milne. A simple still life subject—the traces of domestic life—is made visually exciting through Milne’s command of form, colour and space.

We thank Ian M. Thom, Senior Curator—Historical at the Vancouver Art Gallery from 1988 to 2018, for contributing the above essay.

1. David P. Silcox, “David Milne,” The Canadian Encyclopedia, online version, May 25, 2008, https://www.thecanadianencyclopedia.ca/en/article/david-brown-milne.

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