The powerful equestrian portrait was developed in Italy. These conventions were soon adopted generally. The Flemish and German masters developed the three-quarter and frontal portrait types, which allowed greatly increased contact between subject and viewer and enhanced the illusion of vitality. Master painters such as Pollaiuolo and Piero della Francesca excelled at the profile view. The profile medals and coins of rulers, common in the early Renaissance, were greatly simplified likenesses, as were the profile portraits of donors within devotional compositions. Limousin's enamel portraits of Francis I are among the masterpieces of enamel work. In Europe the principal medieval portraitists known by name were the French court painters Fouquet and Limousin. In Asia this religious use of the portrait was widespread until the 15th cent., when realistic Western portraiture began to influence Eastern art. Such ideal likenesses were painted onto sarcophagi of lesser persons as well. The Egyptians made sculptured monuments that were idealized portraits of their monarchs intended to grant them immortality. Portrait art has taken many forms variation in styles and tastes has contributed as much to portrait art as to other modes of artistic expression.
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