The painting has been described as one of D*rer's most unpopular works, with many art historians, including Max Friedl*nder and Erwin Panofsky, commenting unfavourably on apparent qualities such as ``austerity and awkwardness''. Art historian Fedja Anzelewsky described her as ``a parody rather than an exaltation of the classical feminine figure.'' The feminist scholar Linda Hults observes how ``there is a mechanical quality to Lucretia's suicidal gesture; it seems to operate apart from _her_ facial expression, and it does not seem to require the assistance of her other arm, which is oddly placed behind her back.'' <sep>, Pronoun: her <sep>, A: Linda Hults <sep>, B: Lucretia