Greuze became celebrated for his sentimental portraits of village life and his covertly erotic representations of young girls. His works are related to the cult of 'sensibility' in late 18th-century France, and to the rise of the bourgeois novel and drama.
In 1759, 1761 and 1763 Greuze exhibited with ever-increasing success; in 1765 he reached the zenith of his powers and reputation. In that year he was represented with at least thirteen works, amongst which may be cited La Jeune Fille qui pleure son oiseau mort, La Bonne Mère, Le Mauvais fils puni (Louvre) and La Malediction paternelle (Louvre).
Greuze wished to be received as a historical painter, and produced a work which he intended to vindicate his right to despise his qualifications as a genre artist. This unfortunate canvas (Sévère et Caracalla) was exhibited in 1769 side by side with Greuze's admirable Petite Fille au chien noir. The Academicians received their new member with all due honours, but at the close of the ceremonies the Director addressed Greuze in these words: "Sir, the Academy has accepted you, but only as a genre painter; the Academy has respect for your former productions, which are excellent, but she has shut her eyes to this one, which is unworthy, both of her and of you yourself." Greuze, greatly incensed, quarrelled with his confreres, and ceased to exhibit until, in 1804, the Revolution had thrown open the doors of the Academy to all the world.