Memmi's figures retain the static and generally frontal view found in the earlier generation of late Duecento masters such as Guido da Siena.

Common features of his documented and attributed work are the sophisticated compositional arrangements, figures rendered with a striking facial roundness, narrow eyes, graceful brow lines, and elongated noses.

Though they demonstrate Memmi's adherence to earlier conventions of emphasizing the spiritual function of Medieval art, there are also indications of the forward-looking stylistic developments of his fellow Sienese masters.

A description of his St. Agnes panel (1300–50) shows how Memmi's pictorial style was less severe and angular than the Duecento works his imagery recalled: “...has softer qualities and its spirit is tranquil”.

He is also known as an effective miniaturist, using sgraffito to delicately render garments as depicted in the Griggs Madonna and Child (1350) at The Metropolitan Museum of Art in New York, and the Assumption of the Virgin (1340) at the Alte Pinakothek in Munich.

These Lippesque elements are on display in the Sienese panel S. Maria dei Servi, which Polzer uses to demonstrate Memmi's authorship of the Madonna and Child and the Coronation of the Virgin at the Gemäldegalerie, Berlin, rather than Simone Martini.

[3] A considerable amount of ongoing research on unsigned panels and altarpieces of early to mid-Trecento Sienese art has revealed the plausible influence of Memmi on various artists in the generation following the outbreak of the Black Death in 1348.

[10] Memmi and Martini most likely settled into a familiar style in gilding patterns with the Monaldeschi altarpiece in Orvieto from about 1320 consisting of a “composite punch design of a quatrefoil set about a central rosette”.

[12] Examination of the motifs and degree of complexity in the punchwork has allowed historians to recognize the hand of Lippo Memmi and gives a clearer idea of his place in collaborations with Simone Martini.