At the beginning of the nineteenth century, Paris was agitated by the industrial revolution which brought with itself new social layers and resulted in a social transition. The social turbulence and bigotry of the opressed social layer also manifested itself in the art world. The Paris Salon, which was a contemporary art center and the parameter of ''good taste'', slowly started to open up to the art interlopers that aimed to support and develop a critical approach in social criticism through art. Theodore Gericault presented his painting Raft of the Medusa, an inscenation of an event that was caused by nepotism and moral ignorancy and as a result had the inhumane acts of mutilated travelers whose only goal was to survive on the open sea. Gustave Courbet had already then been thought of as an inovator of the ''painting of workers and proletarians.'' His socially engaged works The Stonebreakers, Peasants of Flagey returning from a fair and Burial at Ornans were also presented in the ideologically sterile Salon. He provokes the bourgeois and its affinities in a subtle manner, making the doors of the Salon wide open to social criticism. Jean-Francois Millet, known for his founding of the Babizon school, soon after retreating from Paris, applied to the Paris Salon a few works, among which were The Gleaners and The Sower. The social transition influenced him in a way which made him see the greatest value in the preindustrial way of life – humbleness, physical labour, modesty and collective contribution to the state. His works are wrapped in a religious veil and call out the industrial man to re-evaluate his ideology and renew the forgotten values. Social criticism in the newspapers was carried out by Honore Daumier through satiric and ironic caricatures