The autor investigates communication between the direct prospect which has become since the era of the Renaissance a fundamental principle of painting, and formation of the new European scientific knowledge. Consideration of similar communication allows to understand how this principle is correlated with the fascinating idea of exact reproduction of reality and as within an embodiment of similar idea there is a gradual loss of interest to painting because by the XX-th century actively developing technologies start coping with this task much better. The direct prospect as a means, provided with scientific support, found independent life and started defining the content of developing new European culture. The celebration of the new European science which has proved out and in art, led to blossoming of technologies, a technical way of the relation to life which inevitably conducted the esthetic sphere in its classical look to self-abolition. It was succeeded by various skillful technicians of impact on the person, successfully carrying out a manipulation its representations, impressions and emotions.
