The son of the celebrated Venetian rococo painter Gaspard Diziani, Antonio was taught by his father but veered away from paternal idiom of religious and mythological subjects executed in a flamboyant late baroque idiom to specialise in pastoral subjects. He contributed to the Venetian genre of gentle rustic vedette which appealed to the taste of the Grand Tourist and perfectly complemented the glittering views of Venice by Canaletto and Guardi. Other practitioners of these soft rococo fantasies, evoking the scenery of the Veneto along the Brenta, or the foothills of the Dolomites, were Francesco Zucarelli and Giuseppe Zais. In these rather more tempestuous pair of views Diziani evokes the spirit of Salvator Rosa.
In 1774 he was elected to the Venice Academy of Painting and Sculpture, a considerable distinction in view of the then low status of landscape painting in the hierarchy of artistic subjects.