Born in Alberton, Canada, Rogers was encouraged by a teacher at Toronto Central Technical School to pursue his talent for art. After serving in the First World War, he returned to Alberton, working on catalog designs. He spent four years in Boston, studying at the Boston Museum of Fine Arts School. He stayed in the U.S., working for newspapers, including the New York Herald Tribune, and the New York Times (night art editor).
During the Great Depression, he worked in the Southwest of the United States, painting portraits of Pueblo Indians, and doing magazine covers.
Hirt, Heather "Noted Artist At Work On Native P.E.I.," The Guardian, May 12, 1977, Charlottetown, P.E.I
The following information was submitted in April of 2006 by Blair Nicholson:
He was from my home town of Alberton P.E.I. Canada. His father was the Customs officer in the town when he was a youngster. He lived on Church Street in the house next door to the old court house which is now the town’s museum. During the WWII he was a war artist. He painted many things, including posters encouraging participation in the war effort, but one of which he was very proud, and right so, was The Quebec Conference, August 17-24, 1943, and The Sergeant, a portrait of an RCMP Sergeant in the famous Red Tunic. He was based part time in Ottawa in 1972/1973, actually Manotick. He used A.Y. Jackson’s old studio. At that time one of the paintings he was working on was a portrait of RCMP Commissioner HIGGITT. He also painted many local scenes of Alberton, P.E.I. at the wharf (Alberton South) and the little church in Kildare, between Alberton and Tignish near the Ocean.
Hubert and I are both from Alberton, something I did not know until 1972, because he had left before my time. In 1972 I was posted to Ottawa as a bodyguard for Prime Minister Trudeau; we met through a mutual friend, in charge of the famed RCMP musical ride who had invited us both to dinner. Over the course of dinner he discovered my interest in drawing, my school books were badly scarred from my etchings, consequently he encouraged me to move from the black and white sketching mode to painting in oils. He took me to Wallach’s Art Store on Bank Street Ottawa and assisted me in purchasing all the basic requirements a young artist would need. His paints were “Winsor Newton”. I asked him why? And He said that that was what he had started with when he was studying art, it had been recommended by his tutors. He also said there may be others as good today but he stuck with them as he found the quality very good and he was used to there colour range and capabilities. I have a picture of Hubert in my sparse apartment going through my art box which I had just purchased. Hubert also painted in watercolours which he described as less forgiving and often used for quick field sketches.