He hoped that society would be reformed to be equally inclusive. As it became clear that the July Monarchy was indifferent to the needs of the mass of people, Jeanron became one of the opposition leaders. He depicted the failings of the new regime through his paintings of everyday life. In 1830 Jeanron married Désirée-Angéline, from a well-to-do Parisian family. From this marriage he inherited the estate and manor of Comborn, Corrèze, in the former Province of Limousin. He often painted the landscapes and country people in this area. Jeanron lived in exile in Limousin between 1833 and 1837. In 1834 he exhibited "Paysans limousins écoutant un joueur de musette au bord du grand étang d’Aigueperse" ("Limousin peasants listening to a bagpipe player at the edge of the large pond of Aigueperse".) He exhibited that year at the Society of Friends of Arts of Lille, where his work was acquired for the Museum. In 1840 he exhibited "Bords de la petite Briance", which he hoped to sell to the Louvre, but without success. When the provisional government took power after the February Revolution of 1848, the provisional government leader Alexandre Auguste Ledru-Rollin nominated Jeanron as head of National Museums and Director of the Louvre. He retained the prestigious position of director of the Louvre from 1848 to 1850. One of Jenron's first priorities with the Louvre was to preserve the collection, and he hired guards for this purpose. He also made it a priority to improve the extremely poor conditions in which paintings were stored. Jeanron campaigned to include workers in completing the different sectors of the Louvre, hoping to spread the word that the museum was a place where all were welcome, and tried to obtain more space for the exhibits. Jeanron had a deliberately populist agenda. He displayed works by painters such as Jean-Baptiste-Siméon Chardin and the Le Nain brothers who depicted plebeian subjects that would have greater appeal to the working class and the growing middle class, as opposed to the more aristocratic themes of painters like Hyacinthe Rigaud or Louise Élisabeth Vigée Le Brun. Having struggled as an artist in the 1830s, Jeanron wanted the government to actively support new artists such as Charles Jacque and Jean-François Millet.