Pearlman described the sittings for this portrait as "exhilarating." Perhaps the artist and his patron discussed their mutual admiration of Cézanne’s work, or Lipchitz’s friendships with Soutine and Modigliani, whom he introduced in 1915. Lipchitz wrote of this work, "This is a good strong portrait and I believe reflects the simplicity and at the same time the force and intelligence of this remarkable man." The artist believed that Pearlman had commissioned the work in part to assist him financially after a fire destroyed his studio.