Whereas the German expressionists or the Dutch painters of the De Ploeg movement (except perhaps George Martens) liked to use primary colours, Patrick Bakker, whilst staying clear of any hint of impressionism, cultivated bitter-sweet and dissonant juxtapositions, introducing often deliberately dirty hues, with a controlled violence of expression.
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At the time of his death he was considered a "prodigy", in the words of Bénézit’s Dictionnaire (see Bibliography).
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He was also close to the young David Ogilvy and spent much time with the Russian émigré community.
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