Yes, it is a bit spooky that he died within a day or two of Bergman, one of those things that you feel must mean something even though you aren't sure what it might be—which, come to think of it, is highly fitting for these two directors. Here is what I said a month or two ago about Blow-up:

I’ve somehow gotten the impression that this movie is no longer regarded as highly as it once was. Well, if that’s true, I don’t care; I think it’s a masterpiece, and phooey to those who disagree. It made a huge impression on me when I first saw it, when it was new and I was a college freshman, but I didn’t really know why. I suppose it was a matter of mood and atmosphere more than anything else. Now I think I understand it, and I think it comes closer to capturing an essential aspect of the cultural upheaval of the ‘60s than pretty much any other work of art I know of. I’m ready to see it again.

I'm still working my way through the rest of Antonioni's work. There is probably less great work there than in Bergman's career, but I can say of his best films exactly what I said yesterday of Bergman's: that they're among the few that I care about as much as I do my favorite books and music.

Here is the NY Times's obituary.