Throughout the history of art patronage has been essential to the development and survival of artists. Although today we are less likely to speak of patrons, the support and encouragement of a wide range of individuals continues to play a key role in the lives of artists. Eleanor Milne was no exception to this tradition, and from the beginning benefited from the support and encouragement of her family, friends, and professionals within the world of art.
Milne's parents supported her decision to attend art school, although she remains convinced that they did not believe she would make a career of it. The professors she met during her art training played a pivotal role in her development. John Farleigh accepted Milne into the Central School of Arts and Crafts simply upon the strength of her portfolio. Ivan Mestrovic's help with modelling and spiritual concerns in art allowed Milne to develop a taste for traditional styles, powerful designs, and bold cutting. While the involvement of teachers is essential, Milne warns that students must learn from their professors without simply copying, in an effort to move on beyond the style of the teacher.
Just as important to Milne
were her fellow art school students. Milne describes Barbara Trail, a
student with her in London, whose flat was "a colourful, chintz-hung
hangout to which we all came periodically for the good of our lonely souls"
(Note in Milne's personal sketchbook labelled, "A Sojourn in London, 1947").
Milne also benefited from the kindness of the public who increasingly recognized and commissioned her talents. While living in London Milne was forced to earn extra income working part-time as a gardener. Madeline Fousset, a woman of some means who had hired Milne for her garden, became a good friend of Milne and provided important art connections for the aspiring artist, almost including a commission for a portrait bust of Sir Alec Guinness, who was unfortunately out of England at the time. Although Milne has been lucky in her support networks, there were times when she became frustrated about the necessity for young artists to have public relations which often require large amounts of financial support. Despite these occasional lows, Milne persevered, never losing sight of her dedication to her art. It is reassuring that Eleanor Milne, one of Canada's artistic success stories, has experienced the same highs and lows that young artists in Canada are facing today.
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