His artistic approach favoured a direct observation of the human form. In works such as Vissersvrouw and Fluitspelende jongen, he avoided the heavy sentimentality often found in genre painting. Instead, he employed broad brushwork to capture the weight of a hat or the posture of a seated child. His self-portraits and still life compositions show a preference for muted tones and careful lighting. This technique allowed him to define volume and space without relying on sharp outlines.

Modern collectors value Van der Maarel for the quiet presence his subjects command. His paintings, such as Vrouw met grote hoed, leunend naar links, offer a sense of stillness that suits contemporary interiors. The works are grounded in the realism of the Hague School but maintain a personal, observational quality. His ability to capture a specific mood through a simple pose appeals to those who appreciate traditional Dutch craftsmanship.