Daumier to join its staff, a formidable group including Achille Devéria, Jean Ignace Isidore Gérard (J. J. Grandville), Auguste Raffet. and a young Honoré de Balzac as a literary editor, who is reported to have said of Daumier's lithographs "Why, this fellow's got Michelangelo in his blood !" Daumier's caricature of King Louis Philippe, titled Gargantua, was published in December 1831. He was brought to court in February 1832 and charged with "inciting to hatred and contempt of the government and insulting the king" and sentenced to six months imprisonment with a fine of 500 francs. However, his sentence was suspended at that time and Daumier returned to work where he continued to produce provocative and antagonistic lithographs for the papers. It was at this time he started work on his first sculptures, the Célébrités du Juste Milieu (1832 - 1835). Later that year, his cartoon The Court of King Pétaud (1832) was published and he was arrested at his parents apartment in August 1832 and placed in the prison of Sainte-Pélagie to serve his six months. Daumier remained defiant in prison and wrote a number of letters indicating that he was producing lots of drawings "just to annoy the government." The publication of Gargantua and his imprisonment brought Daumier considerable notoriety, and great popularity among some segments of the public, but little financial gain. After his release from prison on February 14, 1833, Daumier, who had been living with his parents up that time, moved into an artist phalanstery on Rue Saint-Denis, where his friends included Narcisse Virgilio Díaz, Paul Huet, Philippe Auguste Jeanron, Alexandre-Gabriel Decamps, and Antoine-Augustin Préault. He resumed work at La Caricature and continued to publish critical and uncompromising lithographs including Rue Trensnonain, Freedom of the Press, and Past, Present, Future (all 1834) and spent long hours in the Louvre. The founder and editor of La Caricature, Charles Philipon, also endured a number of convictions and spent more time in prison than in his office during its run, as did many editors, authors, and illustrators of the opposition papers of the period. In 1834 La Caricature followed La Silhouette and collapsed after relentless prosecutions and fines from the monarchy. However, Philipon had already started another journal, Le Charivari in December 1832, which continued on with much the same content, and even many of the same staff members, including Daumier. On the fifth anniversary of the July