Joseph and Potiphar's Wife is the only securely attributed work in marble completed by Properzia de' Rossi, the only woman artist in the Italian Renaissance mentioned in the first edition of Giorgio Vasari's Lives of the Most Excellent Painters, Sculptors, and Architects.

The succession of strokes present in Joseph and Potiphar's wife are rhythmic, creating diagonal and vertical lines that can be visually compared to compositions by Raphael combined with the soft finish of Correggio's stylization in his paintings, transcending limitations of the medium.

[3] Reflecting some views of the time, scholar and author Antonio Saffi even went so far as to argue the exceptional rarity of finding a woman who was able to not only understand the medium enough to work it, but to apply the theoretical principals of the 'most difficult art' with 'perfect success' while standing in front of the members of the of Bologna’s Accademia di Belli Arti in June 1830.

Imagery found in artwork made biblical stories and lessons accessible to even the illiterate and helped regions promote a curated representation of their character.

[3] Despite her lack of choice in subject matter, the scandalous imagery of Joseph and Potiphar's wife, alongside its technically strong execution, caused speculation of de' Rozzi's personal life at the time.

[4] Vasari’s narrative surrounding De’ Rozzi at the time indicated the Joseph and Potiphar’s Wife panel to be the “pinnacle” of the artist’s career regarding both her ambition and skill.

[4] This belief was not exclusive to de' Rozzi, but due to the nature of her work's subject, Vasari believed that she bore resemblance to Potiphar's wife– not only in appearance but assumedly also in character drawing upon various coincidental parallels.

[10] Quin speculates that, due to degradation that this harassment played a part in de’ Rozzi’s choice to abruptly switch mediums from sculpting marble to engraving at this time.