Antonio Rizzo (Osteno, c. 1430 – Cesena, c. 1499) was an Italian architect and sculptor, one of the greatest active in Venice in the latter half of the fifteenth century.

[7] Rizzo's premier patron in Venice was the Doge Cristoforo Moro, who commissioned him to create altars for the basilica of San Marco, after which he became the chosen sculptor and architect of the Venetian Signoria.

It is likely that Gregorio Correr, a Venetian noble, who had been his patron as well as Mantegna's in Verona, had recommended Rizzo to Moro to introduce the new Renaissance style into the basilica.

[8] Influenced by Bregno's gothic sensibility, in around 1464, Rizzo sculpted the figures of the Annunciation, the Allegories and the Virtues for the funerary monument of the Doge Francesco Foscari located in the Church of Santa Maria dei Frari.

[11] A budding Renaissance style becomes evident in his statues (such as Mars) for the crown of the Arco Foscari at the Doge's Palace, which he worked on between the early to mid 1460s.

[5] Rizzo based his statues on nude models, working in a naturalistic fashion, with neither the muscle-bound Adam nor the broad-hipped Eve subscribing to classical conceptions of human proportions.

After its damage by fire on 14 September 1483, he redesigned a new east wing on the courtyard, planned a new apartment for the Doge, and executed the Scala dei Giganti.

These stemmed from his appointment as proto or chief architect of the Doge's Palace, a full-time job but grossly underpaid, about which he complained bitterly, as he was unable to take on any other commission.

These have been called the supreme achievements of his latter career, and are remarkable for their mimicry of sfumato, a painterly technique, as well as the effects of reflected light off the broken surfaces.