Klimt, who by the early 20th century was professionally successful and established, recognized the young Egon Schiele's talent and facilitated his gallery showings. Schiele, who was also a powerful portraitist and accomplished landscape painter, is best known for his watercolors and drawings with graphic and unflinching displays of the naked or, more often than not, half-clothed body and explicit exposure of genitalia. He made radical formal innovations, and as Danto has suggested, “In Schiele's work the human body expresses its sexuality as artistic truth” (2). Classical concepts of beauty were jettisoned by Schiele, as his self-portraits with their distortions of physiognomy and wild intensity demonstrate. By 1910, Kallir observed, “Schiele resolved the conflict between decorative abstraction and conventional realism that had plagued Klimt's figural paintings by creating a new expressive pictorial language that leveled the formal and representational aspects of his compositions” (3, p. 73). He was the harbinger of German Expressionism, which flowered in the work of Otto Dix and George Grosz during the Weimar Republic.