Ann McKnight | |
---|---|
Born | Anna B. McKnight |
Occupation | Film editor |
Years active | 1913–1931 |
Ann McKnight (sometimes credited as Anna McKnight) was an American film editor active primarily during Hollywood's silent era, and has been credited as the first women to take up the profession (ahead of Viola Lawrence). [1] [2] [3] She cut more than two dozen films during the mid-1910s and early 1930s, and often worked with fellow editor George Marsh.
Anna started off her career working at Vitagraph in Brooklyn as an editor in 1913, making a mark early on in the medium's history. She was not credited on many of her earliest jobs. [1] She later worked at Film Booking Offices of America; her last credit was on 1931's Smart Woman. [4]
Little else is known about her life, but based on newspaper clippings, it seems likely that she is not the actress Ann McKnight murdered in 1930 by her husband, William Burkhardt. The two have often been conflated.
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Ann Brockman (1895–1943) was an American artist who achieved success as a figurative painter following a successful career as an illustrator. Born in California, she spent her childhood in the American Far West and, upon marrying the artist William C. McNulty, relocated to Manhattan at the age of 18 in 1914. She took classes at the Art Students League where her teachers included two realist artists of the Ashcan School, George Luks and John Sloan. Her career as an illustrator began in 1919 with cover art for four issues of a fiction monthly called Live Stories. She continued providing cover art and illustrations for popular magazines and books until 1930 when she transitioned from illustrator to professional artist. From that year until her death in 1943, she took part regularly in group and solo exhibitions, receiving a growing amount of critical recognition and praise. In 1939 she told an interviewer that making money as an illustrator was so easy that it "almost spoiled [her] chances of ever being an artist." In reviewing a solo exhibition of her work in 1939, the artist and critic A.Z Kruse wrote: "She paints and composes with a thorough understanding of form and without the slightest hesitancy about anatomical structure. Add to this a magnificent sense of proportion, and impeccable feeling for color and an unmistakable knowledge of what it takes to balance the elements of good pictorial composition and you have a typical Ann Brockman canvas."
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