The explicit links between the two Kanizsas, the scientist and the painter, are just a few. Most (if not all) are collected here, to confirm that he considered the two activities fundamentally different. As scientist, Kanizsa became internationally known for the beauty of his visual demonstrations focused on testing a particular hypothesis; such demonstrations were based on the selection of essential features and on the elimination of unnecessary ones. As painter, Kanizsa focused on calligraphic gestures and looked at their visual effects as something original and unplanned. However, an implicit link between the scientist and the painter can be found: it is the idea of order as a goal for perception and a constraint for action. In his scientific life Kanizsa strived to demonstrate that perceptual activity tends to achieve ordered results; in his artistic life he used the order of painting acts as a bottom-up tool for the generation of new visual entities (pupoli).