He left his hometown in 1819 to work under the artist Antoine Gros in Paris but returned at his father's behest in 1821 to join the family business, designing fabric for three years.

During hard economic and social times in 1824, he took part in a Lyons carnival parade that was deemed seditious; he was arrested, but ultimately charges were dropped.

He bonded with the liberals and satirists of the day, attended the Grandville workshop (1827), and two years later joined forces with the creators of the newspaper La Silhouette, on which he worked as an editor and designer.

Associated with the creation of Philipon newspaper, Honoré de Balzac wrote in the prospectus and gave it under various pseudonyms thirty articles until February 1832.

[4] According to the prospectus, Charivari was intended as "comprehensive overview of all the constantly recurring events, by pencil and pen, of all the various aspects of this kaleidoscopic world in which we live.

He reoffended a few months later with another lithograph, known as The Cosmetic repair (La Caricature, June 30, 1831), in which the king is represented as a mason, symbolically erasing the traces of the July Revolution.

"[4] Pears began to represent the regime and its associates, and began showing up more often in both La Caricature and Le Charivari including, Philipon later published an image of a giant pear statue being erected at the Place de la Concorde with the title "The expiapoire monument is raised on the site of the Revolution, exactly where Louis XVI was guillotined."

Philipon proclamation published in La Caricature (27 December 1832), true profession of faith, leaves no doubt about it: " We repeat, we are what we were there twelve years, frank and pure republicans .

From November 1831 to March 1832, a list of subscriptions is launched from La Caricature, and a second call is made a year later in Le Charivari without much success, the economic situation there is hardly suitable .

In La Caricature 11 April of that year, Philipon publishes Bluebeard, white and red by Grandville and Desperet, an openly militant lithography.

While Louis -Philippe, back ( a subterfuge designed to avoid censorship ), is about to stab the constitution, the herald symbolizing the press carries on its banner the word " Republic " and his trumpet and National Tribune, title two newspapers of the Republican opposition.

In this lithograph, considered by Philipon as "one of the best political sketches made in France", a typographer full force at the forefront defies away frail figures of Louis-Philippe and Charles X.

Several lithographs emerge, including Hercules winner Travies (La Caricature, 1 May 1834) and especially Rue Transnonain Daumier (Monthly Association, September 24, 1834), which refers to the killing by troops of the inhabitants of this street 15 April 1834.

The day before the attack, had published Philipon red number Charivari, real firebrand with as an article a list of men, women and children killed by the troops and the National Guard since 1830.

He was accompanied by a lithograph Travies ironically titled " Personification of the sweetest and most humane system " ( Le Charivari, July 27, 1835 ), where the body of the "patriots" murdered forms an image of Louis-Philippe back.

Taking stock of five years, he wrote : "I started November 4, 1830 the country's liberal illusions and I arrived in September 1835 in the kingdom of the saddest realities".

[22] The most emblematic kinds were illustrated in particular by Daumier (Ratapoil, Robert Macaire) Travies (M.Mayeux), Henry Monnier (Joseph Prudhomme) Gavarni (Thomas Vireloque) .

Emphatically presented as an avatar of Don Quixote and Gil Blas, the character of Robert Macaire,[24] in tandem with the naive Bertrand, embodies in its facets and multiple roles a social type characterized by the term " floueur " master diddle all kinds and emblem dominated by the interest and profiteering society (Marx refer to Louis-Philippe as to " Robert Macaire on his throne").

In the same period, Philipon published The Floueur (1850), the first series of the Library for fun, the Anglo-French Museum (1855–1857) in collaboration with Gustave Doré, Aux proletarians (with Agénor Altaroche, 1838) and parody wandering Jew (Louis Huart, 1845), inspired by the work of Eugène Sue.

Historian Paul Thureau-Dangin, said of Philipon's destructive influence on the power of the King,He knew how to group, launch and inspire those artists which he employed, to inoculate them with his gall and his audacity, furnish them with ideas and legends, brave prosecutions and condemnations, and thus this obscure man became one of the most dangerous adversaries of the new king, preventing the monarch from acquiring that prestige required to truly establish himself[4]In 1835, after an attempt to assassinate Louis-Phillippe, an official declared that "there is no more direct provocation for crimes" than caricature.

La Silhouette was the first French newspaper to regularly publish prints and illustrations, giving them equal or greater importance than the written text.

Strict government censorship prevented La Silhouette from publishing caricatures aimed directly at politicians – except for a small woodcut of the king (Charles X of France) by Philipon that was surreptitiously inserted within the text of 1 April 1830 issue.

The publication caused a scandal – with an intensity that reflected the rarity of political caricature before the Revolution – and the editor was eventually sentenced to six months in prison and fined 1,000 francs.

In the May and June issues of 1830, this tactic was used to address a variety of political themes through a series of animal scenes by JJ Grandville (Jean Ignace Isidore Gérard).

In an issue that immediately preceded the July Revolution, Honoré Daumier contributed a non-specific battlefield image that was given an explicit political message by an editor.

He was the director of the satirical political newspapers La Caricature and of Le Charivari, which included lithographs by some of France's leading caricaturists such as JJ Grandville (Jean Ignace Isidore Gérard), Honoré Daumier, Paul Gavarni, Charles-Joseph Traviès, Benjamin Roubaud and others.

Philipon inspired many other caricaturists, such as Honoré Daumier, Charles-Joseph Traviès de Villers, Jean Ignace Isidore Gérard Grandville, Paul Gavarni, and Henry Monnier.

"[4] Playwright Honoré de Balzac called Philipon the "Duke of Lithograph, Marquis of Drawing, Count of Woodcut, Baron Burlesque, Sir Caricature.