 He used both of these motifs throughout his career, and, especially in later works, they are notable for their excellent symmetry and balance of color.As Mertens describes, “In the palmette-lotus festoon…, each unit is meticulously spaced within the field, and extraordinary care has been taken with the tendrils, especially those developing from the palmettes.The intervals are as important as the forms.”

The Amasis Painter and Exekias are traditionally considered by scholars to represent the two "schools" of Attic black-figure painting in the mid-6th century BC, and are credited with carrying the black-figure technique to full maturity; traditional scholarly discussion of either painter implies a comparison.