Itzak Perlman, 1986

The way Goldsmith captures Perlman mid-thought here feels less like a posed portrait and more like a stolen glimpse into a rehearsal break. The grain and shadow work give it a timeless, almost filmic quality that suits the 1986 moment perfectly.

The lighting in Lynn Goldsmith’s portrait really captures Perlman’s concentration—it feels like a quiet moment between pieces. The black-and-white finish gives the whole scene a timeless, almost candid feel that fits perfectly in my study. I’ve been looking at it every day since it arrived.