free time in the Louvre. In 1822 he became protégé to Alexandre Lenoir, a friend of Daumier's father and the founder of the Musée des Monuments Francais (now Musée national des Monuments Français), who trained Daumier in the fundamentals of art. The following year he entered the Académie Suisse where he was able to draw from live models and develop friendships with other students including Philippe Auguste Jeanron and Auguste Raffet. Lithography was a relatively new form of printmaking in the early 19th century, invented in Germany in the late 1790s. It was a fast and cheap method of mass-producing prints compared to the traditional practices of engraving and etching. Likewise, the art of the caricature, which was relatively established and popular in England (e.g. William Hogarth, Thomas Rowlandson), was just coming into vogue in France about this time. Lithography studios were emerging in Paris to fill demands for inexpensive illustrated papers and periodicals in a time of social and political upheaval. Daumier learned lithography from Charles Ramelet (1805–1851) and found work with Zéphirin Belliard (1798–1861), producing (often anonymously), miscellaneous illustrations, advertisements, street scenes, portraits, and caricatures in the mid to late 1820s, albeit honing his craft through the years. Career: 1830–1864 After the "Three Glorious Days" of the July Revolution of 1830 (it is unknown if Daumier participated in actual street fighting), a number of new illustrated satirical journals emerged in Paris. These were left-wing publications, intended for the working classes. They were largely driven by the idea that the 1830 Revolution which brought Louis Philippe to power, was largely fought and won by the workers, but had been commandeered by the ruling class and bourgeoisie for their own gains and benefits, who in turn were favored by the king. Daumier's first works of note appeared in La Silhouette, the first illustrated weekly satirical paper in France which ran from December 1829 to 2 January 1831. Daumier eagerly threw in his support and began to express his political convictions as a working class republican in opposition to the new monarchy, its bureaucracy, and the bourgeoisie that supported and profited from it. The editors of La Silhouette were prosecuted and jailed for a time during the short run of the paper. Charles Philipon and Gabriel Aubert, founded another satirical paper, La Caricature in 1830, starting up just as La Silhouette was folding under pressure from the monarchy. La Caricature invited