Though the true identity of the Master of Imola has yet to be established, Carlo Volpe has recognised in several paintings characteristics which he gives to this one artist who was probably active after 1430 (Serena Padovani, op cit., p. 55, footnote 13). The existance of an ex-voto dated work of 1432 in the Musée des Arts Décoratifs, Paris, is critical in determining the activity of this artist and in chronicling his stylistic development in response to the growing 'classicism' of Antonio Alberti. Along with Antonio Orsini, these two artists were also connected to the Ferrarese court.

Volpe notes that the Master of Imola was closely aligned to the Estense in Ferrara with its courtly, elegant style, discernable in his elongated figures, softly falling drapery and ornate detailing. Attributed works include a Madonna and Child with Angels in a private Venetian collection (ibid., p. 44, pl. 38), and an Adoration of the Magi in the Kister's collection, Kreuzlingen (ibid., p. 44, pl. 39).