The paper talks about the use of the impossible figures in science education discovering, in particular, the great artistic and communicative value of the artworks of Oscar Reutesvärd, that long before Escher and Penrose, had drawn impossible triangles and stairs using the “Japanese” perspective. In the last part of paper we analysed the links between art and impossible figures showing how over the centuries their communicative power has been used by W. Hogarth, and Op Art, movement which tried to involve the observer deceiving his eyes and his brain.