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Ingannati, Pietro degli
( fl Venice, 1529–48). Italian painter. Probably from the Veneto, he was formerly confused with Francesco Bissolo, whose work sometimes resembles Ingannati’s. He possibly trained in the workshop of Alvise Vivarini. The Virgin and Child with Four Saints (ex-Kaiser-Friedrich Mus., Berlin; destr. 1945) and the Virgin and Child with Two Saints (Vercelli, Mus. Civ. Borgogna), both datable for stylistic reasons to the first decade of the 16th century, are his earliest signed works. The paintings show the influence of Giovanni Bellini with regard to composition, but stylistically Ingannati’s work is closer to the figurative language, first of Lazzaro Bastiani and later of Marco Basaiti and Benedetto Diana. He was strongly influenced by the later works of Giovanni Bellini and Vincenzo Catena and superficially acknowledged the innovations of Giorgione. Ingannati also looked to the work of Palma Vecchio in, for example, the Portrait of a Man (Venice, Coin priv. col.). Like Rocco Marconi, Ingannati adapted the compositional type known as the SACRA CONVERSAZIONE to show half- or full-length figures seated in a landscape, the composition dependent upon Titian, but the figurative types repeating those of Giovanni Bellini. In his later years he continued to exploit techniques from 50 years earlier, as is shown by the fact that, beyond the rounded shapes and rich, fresh colours, the Virgins of his last sacre conversazioni are based on Giovanni Bellini’s Madonna and Child (Madonna of the Meadow; London, N.G.). Other works by Ingannati include the signed Female Martyr (Portland, OR, A. Mus.), Christ Giving a Blessing with Four Saints (Milan, Marinotti priv. col.), the Adoration of the Magi (Perugia, G.N. Umbria), the Portrait of a Woman (Berlin, Staatl. Museen Preuss. Kultbes.) and the Virgin and Child with Mary Magdalene (ex-Gentner priv. col., Worcester, MA). Other works include various sacre conversazioni as well as several paintings derived from Giovanni Bellini’s Virgin and Child with a Bird (Zurich, Schrafl priv. col.). His last signed work, the Holy Family with St John the Baptist and St Ursula (untraced, see Caccialupi, fig. 25), is dated 1548.
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