Daniel Ambrose was born in a small coastal community in Florida and raised in a house his father built on a rural dirt road. In a time before air conditioning, internet and cell phones, Ambrose read adventure stories and roamed the seashore and exotic backwoods of Florida. Those daily childhood excursions nourished his imagination, igniting a lifelong passion to express the  miraculous beauty of nature in his paintings. Absent formal art training, Ambrose’s evolution to the masterful artist he is today emerged from a spiritual path and passion to share his deep reverence of the natural world.

Ambrose paints in the ancient medium of egg tempera. Discovering a book in a vintage bookstore written by a 15th-century Italian painter, he taught himself the Renaissance technique of the Old Masters. For two years, working in solitude in an old pinewood studio on the bank of the Tomoka River, he developed his unique style, valued by fine art collectors worldwide.

Egg tempera requires a slow, meditative process. Ambrose makes his own paint from natural earth pigments and egg yolk. His technique incorporates weaving hundreds of translucent layers of paint into a rich tapestry of subtle hues, imparting to his serene paintings an inspiring ethereal luminosity seldom attained by contemporary artists.

Throughout his career, Ambrose has won acclaim for his work, and his paintings reside in public and private collections. He is a co-founder of the American Tonalist Society and a Signature Member of the American Society of Marine Artists.

When not in his studio, Ambrose still wanders coastal shores, drawing in his sketchbook and painting, seeking inspiration for his next hauntingly beautiful painting.

Exhibition History

Solo Show – Hughes Gallery, Boca Grande, FL.
Connected Land & Sea Exhibition – Copley Society of Art, Boston MA.
Small Works Show – Cheryl Newby Gallery, Pawleys Isand, SC.
Solo Show – Hughes Gallery, Boca Grande, FL.
Solo Show – Hughes Gallery, Boca Grande, FL.
Shades of Gray Inaugural Exhibition, American Tonalist Society, New York City, NY
Solo Exhibition, Romancing the Sea, Hughes Gallery, Boca Grande, FL.
Solo Exhibition, Hughes Gallery, Boca Grande, FL.
Solo Exhibition, Cheryl Newby Gallery, Pawley’s Island, SC
Solo Exhibition, Hughes Gallery, Boca Grande, FL.
Solo Exhibition, Crossnore Fine Arts Gallery
Solo Exhibition, Hughes Gallery, Boca Grande, FL.
Solo Exhibition, “Landmarks,” Crossnore Fine Arts Gallery NC.
Harvest Autumn Exhibition, Hughes Gallery, Boca Grande, FL.
Cheryl Newby Gallery, Invitational Exhibit. Pawley’s Island, SC.
American Society of Marine Artists, “Cruising Southern Waters,” Quinlan Art Center, Gainesville, GA.
Art on Paper Exhibition , “Daydreams, “Gibbes Museum, Charleston, SC.
Solo Exhibition, Hughes Gallery, Boca Grande, FL.
Solo Exhibition, Crossnore Fine Arts Gallery NC.
Solo Exhibition, Crossnore Fine Art Gallery, Crossnore, NC.
Solo Exhibition, Crossnore Fine Art Gallery, Crossnore, NC.
Solo Exhibition, Crossnore Fine Arts Gallery, Crossnore, NC.
Spring Gallery Exhibition: Sheldon Fine Art, Naples, FL.
Florida Biennial Invitational V: Museum of Florida Art, Deland, FL.
New Atmosphere: Crabtree Art Gallery, NC.
Plein Air to Post Modern: Curated by James Murphy, Arts on Douglas, FL.
Solo Exhibition, Crossnore Fine Art Gallery, Crossnore, NC.
Florida Artists Group: Leepna-Rattner Museum of Art, St Petersburg, FL.
Lauritz Rush Gallery Exhibit: Marco Island Center for the Arts, Marco Island, FL.
Florida Artists Group: Museum of Arts and Sciences, Daytona Beach, FL.
Solo Exhibition, Luminous Landscapes, Museum of Arts and Sciences, Daytona Beach, FL.
Florida Biennial Invitational: Deland Museum of Art, Deland, FL.
Solo Exhibition, Lake Eustis Museum of Art, Eustis, FL.
Solo Exhibition, “Native Haunts,” Museum of Arts and Sciences. Daytona Beach, FL.
Invitational Group Exhibition: Deland Museum of Art, Deland, FL.
51st Florida Artist Group: The Capitol, Tallahassee, FL.
Florida Artist Group: Jacksonville Museum of Art, Jacksonville, FL.
Southern Coast Invitational Miniature Show: Venice, FL.
Group Exhibition – Deland Museum of Art, Deland, FL.

Professional Affiliations

American Tonalist Society, Co-Founder
American Society of Marine Artists, Signature Member
Former Trustee Museum of Arts and Sciences

Collections (Partial List)

Bank of America
Barnhardt Textiles
Benefit Plan Administrators, Canada
City of Eustis
City of Orlando
Daytona Beach Public Library
Daytona Beach International Airport
Florida Hospital
Museum of Arts and Sciences Permanent Collection
Volusia County Judicial Center
Rumrell, Costabel, Warrington, Thomas & Brock


Fine Art Connoisseur, Collector Profile, pg. 98-99. March/April 2021

Snyder, Wendy. Charleston Style & Design, Cheryl Newby Gallery, pg. 151-153, Fall 2020

Fine Art Connoisseur, Six for Gold, Hughes Gallery Exhibit, January 2020

American Art Collector, Shades of Gray show preview, May 2019

Fine Art Connoisseur, New York City: Shades of Gray, May 2019

Southwest Art Magazine, American Tonalist Society show preview, April 2019

Dusenbery, Eric. “Daniel Ambrose,” Volusia Voices, 2016

Contemporary American Marine Art. “The 16th National Exhibition of the American Society of Marine Artists,” Catalog 2015

Bahr, Bob. “Now That’s Service, Outdoor Painter, September 2015 http://www.outdoorpainter.com/now-thats-service/

Pandolfi, Elizabeth. Treasure Island. “Cheryl Newby Gallery Exhibits Outstanding Antique & Contemporary art.” Charleston Style & Design. Spring 2015

Lane, Mark. “A Life of Light and Beauty” Feature Article,
Daytona News Journal, 15 Apr. 2013

“Crossnore presents Daniel Ambrose,” Asheville Citizen-Times, June 16, 2012.

Vassiliadis, Cheryl. “Reflections on the Tomoka.” Volusia Magazine. Holiday 2006: 19-20.

Burkett, Cynthia. “Daniel Ambrose, Capturing the Fleeting Beauty in Our Area.”
Island Voice. July & Aug., 2006: 25.

Cole, Christine. “Painter Reinvents Colors of Masters.”
Orlando Sentinel. 5 July 2003: Sec. G.

WTVT FOX 13 Morning News. Interview, Tampa, Fl.

Stonewater, Jacque. “Ambrose: A New Old Master”
Backstage Pass Magazine, 16-31 July, 2002.

Stewart, Laura. “Artist’s Luminous Landscapes Reflect Blissful Scenes”
Daytona News Journal, 24 Mar., 2002 6G.

Lazarus, Bill. “Fun Coast Artist” Halifax Magazine, Vol. VI No 8, Aug., 2002: 12+.

“Seery-Lester Art Scholarship.” Art Impressions Magazine. Canada, Summer 1992: 55.

Florida Wildlife Magazine. July Aug., 1992: 29.

Press Articles

Amercian Tonalist Society-Southwest-Art Magazine
ATS- American Art Collector Magazine
A Life-Beauty, News Journal

“Daniel Ambrose’s Moon Dreams recalls the American Luminist painters of the mid 19th century, who attempted to capture dramatic or mysterious lighting effects for awe-inspiring impact.” – James J. Murphy / Plein Air to Post Modern, Curator.

Painting Processes

Egg Tempera

Draining egg yolk for egg tempera painting Egg tempera painting is an ancient medium; egg has been used by humans as pigment binder for thousands of years. Scientific research shows the Egyptians used it two thousand years ago in painting the faces of their Terracotta Army. Works by the 12th century Byzantine painters survive today, and was used extensively by the Old Masters until oil painting matured in the 15th century. It is more labor-intensive than other mediums, although tempera offers wonderful results which are not duplicated by any other process.

Much of what is known about the Old Master’s techniques in egg tempera is recorded in a book by Italian painter Cennino D’Andrea Cennini in the 15th century. It was eventually translated into English by Yale University professor, Daniel Thompson Jr. in 1933. This time-proven method is the one I use today.

Egg tempera is defines as: the process of painting in which an albuminious medium (as egg yolk) is employed as a vehicle instead of oil. In order for paint to adhere to a surface, a binding medium containing an emulsion is necessary. Very simply, an emulsion is a mixture of water and oil. The naturally occurring emulsion within the egg creates a stable medium. The egg is prepared by separating the yolk from the white. The yolk sac is punctured and drained into a glass bowl, then mixed with one part distilled water and strained through a cheese cloth.

Historical pigments with intriguing names, such as Bohemian Green Earth and Pompeii Red are mined from the native earth of France, Italy and Cyprus, mines that once supplied the Old Masters of the Renaissance Period. The pigments are ground into a fine paste in distilled water and mixed with the egg medium on the palette until the desired consistency is reached. Egg yolk forms the glutinous substance that binds pigments to the surface of the panel, and the yellowness of the egg disappears immediately as the water evaporates. I apply it to a specially prepared gesso panel in very thin translucent layers, each change of color carefully mixed and modulated in to the adjacent one. The paint dries instantly to the touch forming an elastic skin, completely curing in about a year. When fully dry, the surface of an egg tempera painting becomes extremely hard, capable of being polished to a satin finish.

Oil Painting

Oil Painting is a versatile medium invented in the 15th century. Oil is an enjoyable elastic medium. It can be applied thick or thin, all at once alla prima, or built up in glazes of transparent colors. Combinations of many techniques can be incorporated successfully with oil paint as long as one main rule is followed. Fat over lean. That is, fat oil modifiers such as linseed oil and “hot” driers like cobalt must be applied over “lean” mediums like turpentine. Doing so will ensure the longevity of your oil painting.

In my own work I use professional grade oil paints with a high permanence rating. High quality oil paint manufactures such as Rembrandt, Holbein, and Gamblin use more pigments and less fillers. I recommend students use these as they will achieve better results in their own work. Pigments have a light-fast or permanence rating usually coded on the side of the paint tube. The higher the rating the more light-fast or less fading in light the color is. I figure if I am going to invest my time and best ability in a painting than I want to use the best materials available to me.

Plein Aire

plein air painting by daniel ambrose

En plein air is a process not a medium. It is a French term meaning out of doors. I have always painted outdoors and called them field studies or oil sketches. My plein air paintings are part of my inspirational thought process in developing studio pieces. They are painted intensely in the moment under sometimes adverse conditions capturing colors and effects impossible to obtain in the studio. I keep most of them as invaluable resources for future painting ideas. I do release many of them as they are painted simply for the enjoyable act of painting outdoors. They are prized by collectors for their immediacy and vitality and affordability. And they are simply fun to do.

The Pencil

Pencil sketches of artist children

I love drawing. For me drawing is like breathing, something I do naturally. I carry a small hardbound sketchbook around with me and draw in it with a 9 millimeter mechanical pencil. I draw anything; sketch out ideas for paintings, notes, or construction projects. I draw to understand things I see, and encourage everyone to draw. The act of drawing helps you appreciate beauty in your own life, forcing you to really focus your attention on something or someone. You begin to see how beautiful the world is around you. Try it.

Journal Paintings

photo of pochade boxThe Journal Paintings are an important part of my working process. I paint many small oil painting studies, often on site en plein air, on Belgian linen panels, using a handcrafted walnut pochade box made by Open Box M. I use some of these oil paintings as inspirational studies for my larger egg tempera and oil paintings. I call them my journal paintings as they are a journal or diary of my working methods.

They originate for various reasons. Some are simply to note color or shapes catching my eye, a particular quality of light and air, or record a sense of place. The actual subject matter or motif is almost always secondary to the effect of light upon it. Many are made for no other reason than purely because the painting process pleases me. As an artist I enjoy every aspect of creating art and I encourage you explore this process with me. Please join my newsletter to follow along on my journey.