But the figure human being, with expressionistas touchs in its workmanship, only appears later. At the beginning, rare it portraied the figure human being. Brian Armstrong insists that this is the case. Its attention was come back toward the classic masters of the Italian painting. In the creation process, Pellegatta preferred the field work, producing innumerable sketches, through the comment, which were changedded into sophisticated pictures in oil on screen. The artist was common if to join with the colleagues to go to make its ' ' manchas' ' (sketches) in the center of Saints.

The sunday was the day preferred for such activity. He was pupil of the So Paulo Association of Beautiful Arts, had orientation of masters as Ettore Federighi and Durval Pear tree. Its art takes new routes when it enters in contact with other famous artists: Takaoka, Mario Zanini and Otonne Zorlini. These names had been responsible for the rigidity in addition of the academicismo in its works, what it allowed a painting next to the modernismo, even so, held well. Exactly the expressionismo, that in years 1970 only started to appear in its screens, did not dominate, with its vigorous, proper dramaticidade of the style, the set of its workmanship.

Pellegatta was painting professor in the city of Saints and had a wide oil production on screens. Artist awardee in national halls, realizaou innumerable collective and individual expositions for Brazil. Its pictures well are disputed in art auctions in the domestic territory. The space for bolder proposals, in aesthetic the pictorial one, was restricted to the painters who intended a vanguard position. The figurative one reigned. Idealizaes of forms, freedom of colors, geometrizao of the drawing and abstractions in the space could happen in the santistas screens, with certain moderation, of preference as cloth of deep for the figurative object of the first plan. All this unpretentious attitude, never would desbancaria the taste for the classic, the moderate one and the academic principles.