The artist used a technique that combined loose brushwork with a precise understanding of perspective. In works like "Interior of the Trier Cathedral" and "Gezicht op de Ridderzaal aan het Binnenhof," he used a limited palette of browns, greys, and ochres. He often preferred watercolours to capture the transparency of air and the softness of shadows. Bosboom frequently left parts of his compositions suggestive or unfinished. This allowed the viewer to feel the scale of the architecture without being distracted by every individual brick. His work prioritised the emotional weight of a space over its literal documentation.

Modern collectors value Bosboom for his ability to create a sense of quietude and order. His prints, such as "Onze-Lieve-Vrouwekathedraal van Antwerpen" or "Kerkmeubilair," provide a calm visual anchor for contemporary rooms. The neutral tones and focus on light make these pieces versatile for various interior styles. Because he moved away from the stiff realism of the past, his work feels surprisingly modern. It captures a specific mood of contemplation. His depictions of historic sites like the "Grafmonument van Engelbrecht I van Nassau" offer a connection to history without feeling dated.