Angelo Inganni was taught the basics of art by his father Giovanni and his elder brother Francesco, with whom he worked on fresco decorations from when he was young. Having distinguished himself for his skill as a draughtsman and portraitist during military service, he was admitted to the Brera Academy of Fine Arts in 1833 as a result of the interest shown directly by Marshal Radetzky. The work presented regularly at the Brera exhibitions from 1834 to 1859 constitutes a vast series of urban views of Milan capturing all the details of its architecture and including likenesses of real people. This new approach to perspective painting proved a great success with the public and critics alike, as shown by a number of prestigious commissions, including one from the Austrian emperor in 1839. He took part in national and international exhibitions with views of various Italian cities. It was in the 1850s, above all after his return to Brescia, that he began to produce genre works of Flemish inspiration with new subjects drawn from rural life and telling effects of light. His work as a painter of frescoes also continued in the churches of San Marco and San Carlo in Milan as well as the parish church of Gussago, the town to which he retired at the end of his career.