La Donna Velata face swap

Where this one comes from

Raphael painted this in Rome in the middle of the 1510s, at the height of his practice, when he was running the Vatican commissions and a workshop of assistants. The sitter is traditionally identified as Margherita Luti, a baker’s daughter from Trastevere with whom he is said to have had a long attachment. Vasari believed it; there is no document that proves it. The picture hangs in the Palatine Gallery of the Pitti Palace in Florence.

What is in the picture

A white silk sleeve, gathered and slashed and folded, fills the lower half of the picture and is painted with more sustained attention than anything else in it. Above it a veil of fine linen falls over the hair and down behind the shoulder, the skin is warm, and the eyes are steady. There is no jewellery to speak of and no symbolic object anywhere. The whole effect is a portrait made by somebody who did not have to negotiate with the sitter.

When people use it

For warmth that is not performing. It works for the picture taken by somebody you are comfortable with, and for any caption that would be spoiled by trying too hard.

How your face lands in it

Frontal, softly lit, with the veil closing the head on both sides and across the top so the transition is bounded before it starts. As tolerant a target as this site offers. The original skin is warm and golden, so a cool or blue-tinted photograph will be pulled some way towards it.

La Donna Velata — Raphael, c. 1512–1516. Raphael died in 1520, so the painting has been in the public domain for centuries and a faithful photographic reproduction adds no new rights. Source

Also in: Paintings · Renaissance