Tanja Malycheva is an independent researcher. She served as an assistant curator at the Museen Böttcherstrasse, Bremen where she was involved in organizing the exhibitions Me. Myself. Naked. (2013) and Marianne Werefkin: From the Blue Rider to the Great Bear (2014). Currently, she works on Valentin Serov’s portraiture in a pan-European context.Isabel Wünsche, Ph.D. (1997), Heidelberg University, is Professor of Art and Art History at Jacobs University, Bremen. Her book publications include Galka E. Scheyer & The Blue Four: Correspondence, 1924–1945 (2006), Biocentrism and Modernism (2011), Meanings of Abstract Art: Between Nature and Theory (2012), and The Organic School of the Russian Avant-Garde: Nature’s Creative Principles (2015).

“Although well-known Russian artists Natalia Goncharova and Alexandra Exter, […] who were promoted equally to their male counterparts as among the most prominent artists of modernism, their introduction has hardly led to recognition of other women artists and their roles in cultural life. […] That is why the study of networks, interactions, and obstacles in women’s careers offered in this collection is an inspiring and productive framework for further research and more systematic approaches to a gender-balanced history of art.” - Maria Silina, Université du Québec à Montréal / Research Institute for Theory and History of Fine Arts, Russian Academy of Arts, Moscow, Russia, in: Humanities and Social Sciences online, H-Net reviews 2017

Tanja Malycheva is an independent researcher. She served as an assistant curator at the Museen Böttcherstrasse, Bremen where she was involved in organizing the exhibitions Me. Myself. Naked. (2013) and Marianne Werefkin: From the Blue Rider to the Great Bear (2014). Currently, she works on Valentin Serov’s portraiture in a pan-European context.Isabel Wünsche, Ph.D. (1997), Heidelberg University, is Professor of Art and Art History at Jacobs University, Bremen. Her book publications include Galka E. Scheyer & The Blue Four: Correspondence, 1924–1945 (2006), Biocentrism and Modernism (2011), Meanings of Abstract Art: Between Nature and Theory (2012), and The Organic School of the Russian Avant-Garde: Nature’s Creative Principles (2015).

“Although well-known Russian artists Natalia Goncharova and Alexandra Exter, […] who were promoted equally to their male counterparts as among the most prominent artists of modernism, their introduction has hardly led to recognition of other women artists and their roles in cultural life. […] That is why the study of networks, interactions, and obstacles in women’s careers offered in this collection is an inspiring and productive framework for further research and more systematic approaches to a gender-balanced history of art.” - Maria Silina, Université du Québec à Montréal / Research Institute for Theory and History of Fine Arts, Russian Academy of Arts, Moscow, Russia, in: Humanities and Social Sciences online, H-Net reviews 2017

Tanja Malycheva is an independent researcher. She served as an assistant curator at the Museen Böttcherstrasse, Bremen where she was involved in organizing the exhibitions Me. Myself. Naked. (2013) and Marianne Werefkin: From the Blue Rider to the Great Bear (2014). Currently, she works on Valentin Serov’s portraiture in a pan-European context.Isabel Wünsche, Ph.D. (1997), Heidelberg University, is Professor of Art and Art History at Jacobs University, Bremen. Her book publications include Galka E. Scheyer & The Blue Four: Correspondence, 1924–1945 (2006), Biocentrism and Modernism (2011), Meanings of Abstract Art: Between Nature and Theory (2012), and The Organic School of the Russian Avant-Garde: Nature’s Creative Principles (2015).

“Although well-known Russian artists Natalia Goncharova and Alexandra Exter, […] who were promoted equally to their male counterparts as among the most prominent artists of modernism, their introduction has hardly led to recognition of other women artists and their roles in cultural life. […] That is why the study of networks, interactions, and obstacles in women’s careers offered in this collection is an inspiring and productive framework for further research and more systematic approaches to a gender-balanced history of art.” - Maria Silina, Université du Québec à Montréal / Research Institute for Theory and History of Fine Arts, Russian Academy of Arts, Moscow, Russia, in: Humanities and Social Sciences online, H-Net reviews 2017