His approach is defined by a cold, stereometric quality in the modelling of heads and features. Unlike the more emotive styles found in Brussels or Bruges, his figures often possess a quiet, arrested quality. He used sharp shadows to define the contours of the face, giving his subjects a physical presence that feels almost sculptural. His work retains the Dutch preference for objectivity, presenting sacred figures as relatable individuals rather than distant, abstract deities.

Modern collectors are drawn to the psychological directness of these works. The focus on a single, close-up subject creates an immediate connection between the viewer and the image. These paintings do not rely on large-scale drama or complex narratives to be effective. Instead, they offer a sense of stillness and contemplation that suits a contemporary home gallery. His ability to capture human vulnerability through precise, technical skill distinguishes his work from more ornate Renaissance examples.