Graphic artist, painter and applied art master. She was one of the first female artists in the Russian Silver Age. Her father was a large factory owner and art patron. Most of her life was spent in France. From 1885-1889 she studied at the MSPSA, and between 1889-1894 continued her studies at the F.Julien Academy in Paris. She worked with coloured engravings from 1902. Despite the fact that she spent most of her time abroad she felt close affinity with the National Romantic experiments of the Abramtsevo circle. She entered into warm correspondence with E.D. Polenova, they were both interested in folk craft. Under the influence of Art Nouveau the artist took up applied techniques and created new forms blending applied and easel art, such as pyrography combined with oil painting. The principles of stained-glass (cloisonism) were used in water colours and gouache by the painter. She started using embroidery and needlework of this kind with painting methods. M.V.Yakunchikova-Veber’s work was inspired by the images of old Russian architecture and those devoted to the theme of the estate culture, painted with the peculiar mood of a metaphysical life that gave her creative empathy with V.E.Borisov-Musatov’s work. The way in which she achieved her oil technique was distinguishable in its finished surface, that resembled light brush strokes of mother of pearl inlay. Her best paintings are "Covers" (1897) and From the Window of the Old House. Vvedenskoye (1897), they are both displayed at the Tretyakov Gallery. In France Yakunchikova felt the influence of Symbolism which was reflected in her etchings, such as "Fear" (1893), "Smell" (1894-1895). She was one of the advocates of Symbolism and Art Nouveau in Russia. Her landscapes are filled with nostalgic moods and bear the Symbolist stamp. Her works were published in the World of Art journal; Yakunchikova-Veber produced the cover for its second issue in 1899.