the Guardian has a nice review. As they note, she did not have to overcome very much to become a painter:
And if her work has troubled the historians, then her biography also refuses to fit with the kind of story that we generally require of our female artists. Far from having to fight for the right to paint, Knights was born in 1899 into what sound like ideal circumstances. She was the eldest child of parents who combined socialist convictions with the happy knack of making money (her father ran a Guiana sugar plantation from his London office). The household at 22 Madeira Road, Streatham, was intensely progressive: Mrs Knights wore rational dress, visiting Aunt Millicent was high up in the Fabians and Walter Knights, far from forbidding his daughter to follow an artistic career in the way that suburban Edwardian patriarchs are supposed to, constantly chivvied Winifred to try a bit harder.Scene in a Village with Mill Hands Conversing, 1919.