As a critical study of visual rhetoric, this essay offers a critical rhetoric of Baroque painting in the seventeenth century, in particular, Nicolas Régnier’s Carnival Scene as a point of departure to deconstruct the ideology underlying current studies of visual rhetoric. The challenges for current studies reside in an ideological critique of the ocularcentrism and how to critique the structural power lurking in the scopic regime of Cartesian perspectivalism. Critical rhetoric of the visual finds a possibility to critically intervene traditional understanding of rhetoric as verbal art and its structural underpinnings of the visual as the ideological experience of the modern scopic regime. Through the analysis of Régnier’s picture, this essay attempts to show that Baroque holds such critical moment not only to reveal power of the structure in the perspectivalism but also to deconstruct the perspectival vision as an apparatus by means of its immanent structural elements of anamorphosis. While perspective was a dominant mode of vision, elements of anamorphosis, another form of perspective produced as its own excess, are observed in Régnier’s tabulation. Anamorphosis brings the experience of the invisible to the viewers with uncanny feelings and it provides a critical moment to interrogate the taken-for-granted-ness of vision.