' We know that the history of the representation of the figure human being if finds crossed by the act to know the universe for the proper man. In this direction, when reviewing our history, we see in them to identify and to understand the different cultural configurations, conformed for social, philosophical, religious and scientific perceptions. Underlying to the expressive manifestations of each culture, immersed projects in the percipient conscience that such citizens had produced on the world, meet the projections of the man. Thus, to if projecting, the man if launches to the adventure to conquer its place in mundo.' ' (Derdik, 1990) During all our history, the human body never left of being crossroads of cultural and social, animal and psychic events. The body is and it will always be a complex of symbols that goes exactly beyond itself. Thus being, ' ' the unit accomplishes of histories was the figure humana' ' (BAXANDALL, 1972), surely it exists on it, an undisputed inventory congregated during millenia, constituting a valuable patrimony to the History of the Art.
The study of models that still is obligator exercise for the preparation of professionals or fans whose intention is to represent the human being figurative, it so passed to be valued in the art of the conception (Raisonn) at the beginning of century XX, how much to the concretion of the workmanship in itself. According to Baxandall ' ' all drawn figure has the intention to represent algo' ' , then one became common, to place for sale, series Raisonn catalogue of famous artists. In the Renascentista period, the study of the ratios human beings, still according to BAXANDALL, he was sufficiently primary in relation to the mathematical rules already known by the traders. As the gold rule, for example. The study of the human model while it disciplines basic to the artistic formation it remains with high pedagogical and enterprising value for such percipient aptitudes.