Charles Ebert spent his childhood in the Midwest, then studied painting in New York and Paris. Upon his return to the United States in 1896 he opened a studio in New York and struggled to make ends meet until one of his satirical cartoons was published by Life Magazine. Ebert’s job as a full time illustrator for Life allowed him to continue painting, and after four years he was able to return to what he loved.
Ebert moved to Greenwich, Connecticut around 1900, and thereafter made the state his home. While in Greenwich, he studied under John Twachtman; and was introduced to Julian Alden Weir and Childe Hassam, whose influence led Ebert to paint the local countryside, and experiment with bold brushwork, a brighter impressionist palette, and unusual sky effects.
Beginning in 1909, he and his wife—the watercolorist Mary Roberts—spent most of their summers on Monhegan Island, Maine. The rocky coast, engulfed in mist and dotted with fishermen’s huts, suited Charles Ebert’s interest in capturing picturesque scenery with fleeting atmospheric conditions. Throughout the early years of the twentieth century it was primarily Impressionists from the summer colony at Old Lyme, Connecticut (founded by Childe Hassam) who visited the island regularly. This period would later be considered the golden age of the Monhegan Island Art Colony era. After the heyday of the artist colonies, Ebert moved down to Sarasota, Florida. The final phase of his career was spent painting landscapes in Florida, the Bahamas, and Bermuda, frequently in watercolor.
Ebert’s works can be found in venerable institutions such as the Farnsworth Art Museum, Rockland, ME; Florence Griswold Museum, Old Lyme, CT; Lyman Allyn Art Museum, New London, CT; Bush-Holley Historical Museum, Greenwich, CT; Smithsonian American Art Museum, Washington, DC; Monhegan Museum, Monhegan, ME; and the University of Michigan Museum of Art, Ann Arbor, MI.