His work is situated at the transition from late 16th-century Mannerism to the greater realism in landscape painting that developed in the early 17th century.

[6] Evidence for this trip was provided when landscape frescoes in the church of San Vitale in Rome, formerly attributed to Paul Bril, were given to Joos de Momper the Younger.

This is also seen in some of the motifs of De Momper's work which go back to Pieter Bruegel's inventions, such as winter landscapes and grain harvests.

One of his works representing a Storm at Sea was previously attributed to Pieter Brueghel but is now generally ascribed to de Momper.

De Momper emphasized stylization over naturalistic effects and used depth and atmosphere to achieve his goal of spatial construction.

He is regarded as representing the end of a tradition rather than a revitalization or an innovation of landscape painting as was happening in the Dutch Republic in the 17th century.

On the other hand, the large size of his works and his collaboration with other leading artists suggest costliness and esteem for pictorial refinement.