The catalyst for Lipchitz’s portrait of Pearlman was tragedy. In early 1952, Lipchitz’s studio in New York City had burned to the ground. Although no one was hurt, the fire incinerated many of Lipchitz’s own works of art as well as works that he had collected. Alfred Barr, director of the Museum of Modern Art, immediately initiated a fund to build a new studio for him. Pearlman made a donation and also hired Lipchitz to create his portrait. He recalled:

My sittings for the bust with Lipchitz totaled twenty-nine; they were at my office and while sitting on a revolving stool, with my painting collection all around the room, and few distractions. If I had received nothing else for the money I had paid the artist, the experience would have been worth it.