The combination of social art and artistic freedom and the departure from traditional color painting techniques attracted radicals to the movement of Neo-Impressionism. However these radicals were often criticized for depicting a peaceful and thoughtful approach to social revolution, combining science and moral harmony. In 1907 Metzinger and Delaunay were singled out by the critic Louis Vauxcelles as Divisionists who used large, mosaic-like 'cubes' to construct small but highly symbolic compositions. Both artists had develop a new sub-style that had great significance shortly thereafter within the context of their Cubist works. Piet Mondrian and Nico van Rijn, in the Netherlands, developed a similar mosaic-like Divisionist technique circa 1909. The Futurists later (1909–1916) would adapt the style, in part influenced by Gino Severini's Parisian experience (from 1907), into their dynamic paintings and sculpture. The influence of Seurat and Signac on some Italian painters became evident in the First Triennale in 1891 in Milan. Spearheaded by Grubicy de Dragon, and codified later by Gaetano Previati in his "Principi scientifici del divisionismo" of 1906, a number of painters mainly in Northern Italy experimented to various degrees with these techniques. These Italian artists merged Neo-impressionism with Symbolism creating allegorical paintings using a divisionist method. For example, Pellizza da Volpedo applied the technique to social (and political) subjects; in this he was joined by Angelo Morbelli and Emilio Longoni. Among Pellizza's Divisionist works were "Speranze deluse" (1894) and "Il sole nascente" (1904). It was, however, in the subject of landscapes that Divisionism found strong advocates, including Segantini, Previati, Morbelli, and Carlo Fornara. Further adherents in painting genre subjects were Plinio Nomellini, Rubaldo Merello, Giuseppe Cominetti, Angelo Barabino, Camillo Innocenti, Enrico Lionne, and Arturo Noci. Divisionism was also an important influence in the work of Futurists Gino Severini ("Souvenirs de Voyage", 1911); Giacomo Balla ("Arc Lamp", 1909); Carlo Carrà ("Leaving the scene", 1910); and Umberto Boccioni ("The City Rises", 1910). Divisionism quickly received both negative and positive attention from art critics, who generally either embraced or condemned the incorporation of scientific theories in the Neo-Impressionist techniques.