Early Life and Artistic Training

Born in Denver, United States, in 1917, Bernard Arnest initially showed an interest in music, intending to study the piano. This musical path was diverted when he entered the drawing classes at East High School. It was there that he discovered a natural aptitude for visual art, a talent recognized early by his instructors. His skill was formally acknowledged when he was named the first-place winner of the Charles Milton Carter Memorial Prize at the school.

His formal education in Denver was shaped significantly by Helen Perry, an influential teacher at East High School. Under her guidance, Arnest began to refine the technical foundations that would support his later career. He continued his development at the Broadmoor Art Academy in Colorado Springs, seeking to expand his command over different media and forms.

The years following his secondary education were marked by intensive study under notable figures such as Boardman Robinson and Henry Varnum Poor. In 1936, he sought further technical precision by attending the Fine Arts Center summer session, where he focused on the complexities of lithography under the instruction of Charles Locke. These formative years provided the discipline and diverse training necessary for the professional life that followed.

Career and Major Commissions

The trajectory of Arnest’s career gained significant momentum in 1940 when he was awarded a Guggenheim Fellowship. This recognition preceded a period of profound responsibility during the Second World War. He served as the Chief War Artist for the U.S. Army Historical section, stationed in the European theater. This assignment required him to document the realities of the conflict through a lens of historical necessity.

His talent for large-scale public works was frequently utilized for civic and governmental projects. In 1940, he produced the mural Settlers in Collingsworth County, a work that remains installed in the historic post office in Wellington, Texas. His ability to handle significant themes led to further commissions for the Department of Justice in Washington, D.C., where he executed a series of murals titled "Great Events and Figures of the Law." Later, in 1955, he contributed murals to the Veterans Service Building in St. Paul, Minnesota.

Academic Roles and Teaching

Arnest’s influence extended well beyond the studio through a dedicated career in academia. His commitment to instruction took him through several significant institutions, beginning with a period in the Midwest. In 1947, he held the position of chief instructor at the Minneapolis School of Art. This role preceded his tenure as an Associate Professor of Art at the University of Minnesota, where he helped shape the development of emerging talents.

The latter part of his career was defined by his presence in Colorado. He moved into leadership roles within the state's educational landscape, serving as the head of the FAC Art School. This position transitioned into a long-standing relationship with Colorado College, where he worked as a Professor of Art. His presence on campus was a constant until his retirement in 1982, at which point he was named Professor Emeritus of Art at the college.

Key Works and Artistic Series

Early in his career, Arnest demonstrated a keen interest in the intersection of landscape and human labor. In about 1939, he produced a study for a mural titled Settlers in Collingsworth County, a work that would eventually find its permanent place in a Wellington, Texas post office. This period of his development also saw the creation of his 1937 lithograph, Garden of the Gods. These early efforts established a preoccupation with the fundamental activities of people working the land, a theme that would recur throughout his life.

The most ambitious undertaking of his career was the Scenes from Life series. This collection of 51 large drawings functioned as a profound reaction to a world he perceived as essentially tragic. Through these works, he distilled a lifetime of experience into harrowing images that addressed human strife and conflict. The series includes specific compositions such as Afghans Resting, Afghan Family, White Wind, and Wheat Field. In 2017, the widow and children of the artist gifted the entire series in its entirety, ensuring the completion of this significant body of work remained intact.

Exhibitions and Legacy

The trajectory of Arnest’s professional recognition moved steadily through the most significant institutions of the mid-century American art scene. His first solo exhibition took place at the San Francisco Museum of Art in 1940, a milestone that preceded his receipt of a Guggenheim Fellowship. This early momentum carried him into the prestigious circles of New York and beyond, where his work was featured in the Whitney Annual of American Painting. His presence in the national dialogue was further solidified through exhibitions at the Corcoran Biennial and the Pittsburgh International.

His reach extended into the Midwest, with his work appearing at the Minneapolis Institute of Art. These appearances in major galleries and biennial exhibitions reflected a career that was deeply integrated into the institutional fabric of the United States. Even as his focus shifted toward the academic and instructional spheres in Colorado, his earlier visibility in these prominent venues remained a defining feature of his professional standing.