 As a highly trained professional, she was just as capable of painting a sensitive portrait such as "Young Man with a Turban" as she was of carrying out large, original commissions, such as altarpieces, with confidence.It is through the identification of three such altarpieces in a Venetian guidebook of 1733 that Lama's artistic personality began to be reconstructed.That she was as fully competent as the male artists with whom she competed is demonstrated by the names to which her work has been attributed.