Farkas, like Avery, seems to have been equally drawn to the flattened planes of Synthetic Cubism and the broad expanses of heightened hues of Matisse; also suggested an interest in Braque's dense, generous manner of composing and his way of pulling lights and brights out of darks. What seems Farkas's own is a brushiness and delicacy verging on wispiness and the mood of wistful melancholy. An al fresco lunch party, painted in 1929 was at first glance sunny and robust with figures compressed into blocky planes brought close to the surface in a setting of springtime greens embedded in a matrix of brushy blacks.
Longer viewing made the pastoral idyll seems unstable. About a decade later Farkas treated the theme even more somberly as a group of figures relaxing in a rather bleak garden, a wide featureless space separated from even wider more featureless spaces by a fragile picket-fence with everything bathed in a rosy curiously gloomy light. The sense of impermanence and transience was heightened by Farkas's preferred medium of tempera on wood. His paint sits up on the surface, making brush marks into major events; the opaque tempera seems—oddly—almost transparent so that materiality and thinness compete for dominance.
— Karen Wilkin, Partisan Review, 2000