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). The Academy took occasion to press Greuze for his diploma picture, the execution of which had been long delayed, and forbade him to exhibit on their walls until he had complied with their regulations. "I have read the letter," said Diderot, "which is a model of honesty and reverence; I have seen Greuze's response, which is a model of vanity and impertinence: he should have backed it up with a masterpiece, and that's precisely what he didn't do."