His style marks a specific bridge between decorative International Gothic and the structured Early Renaissance. Art historians sometimes call him the Venetian Masolino because of how he balanced these two worlds. In works like Saint Peter Martyr Healing the Leg of a Young Man, he uses simplified contours and heavy folds in the drapery to give his figures weight. He moved away from flat backgrounds toward defined architectural spaces. This approach created a sense of three-dimensional form that was new to Venice at the time.

Collectors today value Vivarini for the clear, formal qualities of his compositions. His paintings have an architectural stability that suits modern interiors. The X-radiographs of his works, such as the Madonna and Child, reveal the careful planning beneath the paint layers. These technical studies offer a look at the physical construction of fifteenth-century art. His work documents the specific period when Venetian painters adopted spatial logic while maintaining their traditional ornamental style.