Yakunchikova can easily be considered the first Russian artist of her generation to organically meld into the European context; her cityscapes of Versailles and Paris are considerably earlier than the more famous ones of Alexandre Benois.
In 1896, the art magazine The Studio wrote about her gravure work, acclaiming her brilliant temperament and great artistic gifts, superior to her master Eugène Delâtre in her realisation of the subject, in her idealism, her spirit and her imagination.
Alexandre Benois wrote of Yakunchikova in 1901:"Yakunchikova is not only a great poet but also a great master. In Russia she is still insufficiently appreciated, and yet there are few contemporary artists - not only here, but also in the West - who wield such a fresh, noble palette, with such broad and vigorous skill."
"Yakunchikova's time was all too short for all the things she might have done. But in all that she had time to do, harassed by baby-napkins and the bustle of Paris, she revealed the depths of a lovely talent, a profound feeling and affection for our Russian forests, oh, so remote, 'those little pines and firs', which for her were instinct with religious feeling, and which she longed for all her life."- Sergei Diaghilev, <Mir Isskustva>
