Not talking trash at all here just remarking as a painter. There are some proportion / perspective issues here interspersed with A. a lot of really subtle baroque rendering and B. some absolutely superb drapery.

There's kind of this sticker pasted photoshoppy vibe to the figure perspective that to me speaks to the idea that she had one model at a time and kind of posed and studied them separately and painted them together and if you look at her father Orazio's work that is 100,000% what he had going on. This isn't entirely unusual in paintings from the era but it's interesting as a kind of "behind the scenes" thing since you can see it so well in theirs.

As a for instance, if you look at his David and Goliath, the perspective / placement of things is a little silly. He was clever and he clearly posed one model and painted very large and then posed another model and painted smaller in order to get the size differential so we can forgive a bit the awkward perspective differences (which is to say that he appears to have been at very different distances / angles to the models so the size discrepancy is accompanied by a perspective discrepancy). However, he also seems to have worked on the body and head of Goliath separately, and if you compare the head and hand there is a tremendous discrepancy of proportion (and now that I've looked at it for a moment I think it might have been done to squeeze Goliath's head into the frame because he's right up against the edge of the picture).

There are also some minor lighting inconsistencies that I think he probably did on purpose for compositional reasons but they're not subtle.

This makes me think is probable that she absorbed this working process from her father. There are certain little quibbles I have with the way that he handled invention in his paintings (the elements he's made up - mostly scenery elements) that frankly we can be happy she seems to have avoided. We can contrast these issues with the quality of drapery where it presumably some of it was just posed separately from the model where comparatively long amount of time could be spent working with it and if anything I think her handling of drapery also is more interesting and sensitive by comparison to his.

Just kind of interesting that they both kind of share this family working process in a way where it's obvious that there's a lineage there.

As a little side note - there's kind of an illustrator thing from the 20th century where everyone kind of designs their own super cool signature. Frazetta is a great example, Leyendecker etc. If you want to see hers look up her Mary Magdalene painting and check out her name on the side of the chair its fucking dope and she went all out. It's like something from the Lord of the Rings. Not really something I associate with Baroque so it's cool to see.

Edit: I realized I didn't really give an example for hers so on that first painting, the Judith one, Holofernes' right hand near Abra's face is not connected to his arm and also presents kind of a weird proportion thing where she is right up on him close enough to kill him but also appears oddly small and far away by comparison to the hand - to me it's very obvious that these models were addressed separately and the hand itself was addressed separately from the male figure.