His work is defined by a restrained palette and a focus on the common people of the Parisian suburbs. In pieces like The Rag Picker and The Knifesharpener, he avoided the idealised beauty of the city centre. Instead, he painted the grit of the outskirts with a neutral, almost clinical precision. This realism initially caused friction within the Impressionist group. Edgar Degas championed his inclusion in their exhibitions, despite objections from Claude Monet who felt the style was too literal.

Collectors today value Raffaëlli for his unsentimental documentation of a changing city. Works such as Notre Dame Seen from the Quai de la Tournelle or Place Saint-Germain-des-Prés, Paris offer a sense of place that feels lived-in and authentic. His prints capture the atmospheric grey skies and damp streets of the capital without resorting to cliché. These images provide a quiet, sophisticated aesthetic for modern interiors, favouring mood and character over bright ornamentation.