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His paintings and photographs contributed to the development of the fields of geology and archaeology in Colombia during the nineteenth century. His photographs of Parthenon friezes and the constructions of the acropolis in Athens were catalogued as key elements for knowledge of this archaeological site. Meanwhile, paintings such as Grutas de Cacahuamilpa (Cacahuamilpa Grottos), taken during his trip to Mexico, and La cascada del Tequendama (Tequendama Falls), taken during his stay in Bogotá, served to clarify details of the topography of these regions in contrast to previous scientific observations. In particular, the latter recalls Gros's verification of the height measurement of the falls provided by Alexander von Humboldt, with whom he corresponded. Among the oil paintings and watercolors produced of this impressive Colombian waterfall in the mid-nineteenth century, Gros's.
 painting stands out for its frontal view centered on the falls and the fog produced by the impact of the water on the canyon below.
In painting, Gros was recognized for his mastery in the execution of landscapes, keeping the precepts of the academic tradition but balancing it with the scientific vision of nature. Several of his works are preserved in art collections in Latin American, including by Banco de Bogotá<ref>Moreno de Ángel, P. (2000). El daguerrotipo en Colombia. Bogotá: Bancafé.</ref> and Banco de la República in Colombia and the Soumaya Museum in Mexico City.<ref>Paisaje, 1862. Soumaya Museum, Mexico City. Accessed at Google Arts & Culture: https://artsandculture.google.com/asset/paisaje-jean-baptiste-louis-bar%C3%B3n-gros/iAGfHGG4FjUmkQ</ref>
As for the daguerreotype, his rigorous and disciplined work in preparing images, controlling exposure times, the stability of the camera, and the preparation of the media has been noted. In Colombia, his photographic legacy is appreciated for the reconstruction of the history of art, as he is credited with the rapid introduction of the daguerreotype into the country, just a few months after its invention in France. He is the author of the two oldest preserved photographs of Bogotá and is presumed to have been responsible for passing on the craft to the first Colombian photographers, such as Luis García Hevia.
At the international level, several art collections hold his photographs, such as the Metropolitan Museum of New York<ref>El salón del barón Gros, 1850-1857. MET Museum, New York: https://www.metmuseum.org/es/art/collection/search/29179</ref> and the Getty Museum in Los Angeles.<ref>Copia en daguerrotipo del grabado A dream of joy, 1852-1853. Getty Museum, Los Ángeles: http://www.getty.edu/art/collection/artists/2037/baron-jean-baptiste-louis-gros-french-1793-1870/</ref>In these, the caliber of the composition and the play of light as well as the technical mastery are notable. These images also convey the social position of the French diplomat, as well as his tastes and refinements.