Since the “romantic modernity” the nineteenth century painters and sculptors have increased their dramatic sense of life and history according, not only with the epocal circonstancies, but also with a process of self-conciusness, that intensified their sensibility.This article study this problem trhrough the example of the chilean scultpture, Rebeca Matte Bello (1875-1929) and her Monument “The War” in La Haya International Court, placed there in the year 1914, inmediatly before the begining of the First World War.The genesis of this monument in the personal and diplomatic chilean correspodence, shows that, nevertheless the proliferation of the pacifist mouvements leadered by The International Court, Rebeca Matte, according of his own artistic intuition, anticipates, not the peace, but suffering, destruction and death.