We do not know where he was born and can only assume that it took place sometime between 1430 and 1435. When we encounter him in Rome he is already a mature painter. However, the first documented mention of Antoniazzo dates back to 1464, when along with Melozzo da Forli, he began working on the decorations of the Chapel of Cardinal Bessarion in the Basilica of Santi XII Apostoli. Four years later he was employed in the nearby convent of the Oblate Sisters in order to complete a rather extensive series devoted to a local saint – Frances of Rome (Francesca Romana). It must be added that, at that time in the city on the Tiber there were no significant artists who represented the new style known as the Renaissance. Roman art was still immersed in late Gothic with its characteristic gold background, hieratic perspective and free-standing, static figures. It was then that the papal court brought to Rome, outstanding artists from all over Italy, entrusting them with the decorations of papal apartments and sacral interiors, while private clients commissioned them to adorn the posthumous chapels created by them. And it was these artists such as Melozzo da Forli, Benozzo Gozzoli, Pinturicchio and Perugino that Antoniazzo observed  with intent. He copied their way of painting as well as the perspective, colors, expression, and movement they used in their works. He also took a lot from Pier della Francesca who came to Rome at that time. In the seventies of the fifteenth century, although he was no longer a young man, his art entered a new dimension. Along with Ghirlandaio and Melozzo da Forli he was employed to decorate the interiors of the Apostolic Palace. At the same time along with Perugino he decorated the interior of the Sistine Chapel. And it was this decade of the eighties that proved to be the most fruitful period of his career, when the works he completed, although still simple in creating space and composition, were populated with figures of realistic, often portrayed facial features, full of life and emotions. The last of Antoniazzo’s works and the one that probably attracted the most attention is the Annunciation, in which the painter created an interesting filled with tension scene, immersed in events that was contemporary to him.

The last note about the artist is dated 1512, the year in which he once again draws up his will.

The most important works of Antoniazzo Romano in Rome:

•     Frescoes in the Chapel of Cardinal Bessarion, image of Our Lady and Child, 1464-1468- Basilica of Santi XII Apostoli
•     Frescoes (26 scenes) from the life of St. Francisca the Roman, 1468 – Convento delle Oblate di Tor de Specchi
•     Nativity with St. Andrew and St. Lawrence, Madonna and Child with St. Francis and St. Paul, 1487 – Museo Nazionale d’Arte Antica (Palazzo Barberini)
•     Madonna and Child, 1465-1470 – Church of Santa Maria della Consolazione
•     Madonna with St. Francis and St. Anthony – Church of Sant’Antonio dei Portoghesi
•     The Virgin and Child with St. Anne as well as frescoes of the main nave (God the Father, Solomon and David) – Church of San Pietro in Montorio
•     Painting decorations of the ciborium – Basilica of San Giovanni in Laterano
•     Legend of the True Cross, 1492 – frescoes in the apse of the Basilica of Santa Croce in Gerusalemme
•     The Annunciation (third chapel on the right) – Church of Sant’Onofrio
•     The Annunciation of Our Lady (also attributed to Melozzo da Forli) – Church of Santa Maria ad Martyres 
•     Frescoes (The Crucifixion, The Annunciation, St. Onuphrius and St Jerome, The Deposition, St. John the Baptist) in the Chamber of St. Catherine created in 1637 – a room in the Dominican monastery originally in the transept of the Basilica of Santa Maria sopra Minerva
•     Frescoes depicting the story of the hospital and scenes from the life of Pope Sixtus IV – Ospedale San Spirito (work completed jointly with other artists)
•     Main altar (Madonna Among Saints) – Church of Santa Maria di Loreto (alleged)
•     Madonna Among Saints – Church of Santi Vito e Modesto
•     The Deposition with Benedictine Nuns Bringing Offerings – refractory of the Church of Sant’Ambrogio della Massima
•     The Annunciation, 1500 – Basilica of Santa Maria sopra Minerva