Stylistically, the Berlin amphora is decorated on a new principle of design. It had been customary to frame the groups of figures on each side with pattern bands. The Berlin Painter eliminated this frame, allowing the figures to dominate. The unusually large figures stand out sharply against the amphora's black background and, as in many of his other works, are characterized by refined grandeur.

Several scholars feel that the Berlin Painter was most productive and his work most original during his early period (c. 500–480 BC). Some feel, too, that his later works (c. 470–460) may actually be those of a workshop or of a group of artists copying the master. More than 200 vases have been attributed to the Berlin Painter on the basis of their stylistic relationship to the Berlin amphora. Among the vases most frequently attributed to the Berlin Painter are an amphora (now in Munich) depicting a discus thrower, made especially for the Great Panathenaea (Greek religion), a festival of games held in Athens every four years; a bell krater, now in the Louvre, Paris, representing Zeus pursuing Ganymede; a volute krater now in the British Museum, showing Achilles in his last two victories; a hydria (water pot) in the Metropolitan Museum of Art, New York City, showing Achilles and Penthesileia; and a hydria in the Vatican, depicting Apollo traveling over the sea on a winged tripod. It is thought that the Achilles Painter was one of his pupils.