Here is some info on the artist.

After a promising debut at the Salon, Dupré focused his attention on establishing his career, submitting Faucheurs de siegle (Rye Reapers) to the Salon in 1877 and, in 1878 Lieurs des gerbes (Binding Sheaves), which was purchased by the state. In 1879, he exhibited two paintings; La récolte des joins (Hay Harvest) was sold to Goupil, and Glaneuses (Gleaners) was purchased by Knoedler, thus ensuring that young artist was already developing a steady market for his work. [iii] In addition, the Paris branch of the London-based gallery Arthur Tooth and Sons began to purchase works from Dupré, thus introducing his work to a British audience. One member of that international audience was a relatively obscure painter working in The Hague who described Dupre’s Salon entry for 1881— Au Pâturage (In the Pasture)— as “outstanding, very energetic and very true to life.” That artist was Vincent van Gogh. [v]

Early in their careers, Dupré and Georges Laugée set up a studio together at 14 boulevard Flandrin, not far from their homes. They would share this space for many years. It was here that Dupré began to accept students in 1882, perhaps because he had won a Second Class medal at the 1881 Salon, which meant that he no longer needed to submit his work to the juries for the annual exhibition. This freed up time to focus instead on educating the next generation of young artists—and providing a reliable income for his family. One of his first pupils was George W. Chambers (1857-1897) of St. Louis, Missouri; the American had previously studied with Jean-Léon Gérôme, but it was under Dupré’s tutelage that he began to exhibit at the Salon. [iv] Over the next few decades Dupré would continue to teach—both women and men—from across Europe and the United States