Since the \u201cromantic modernity\u201d the nineteenth century painters and sculptors have increased their dramatic sense of life and history according, not only with the epochal circumstances, but also with a process of self-conciusness, that intensified their sensibility.
\nThis article studies this problem through the example of the chilean sculpture, Rebeca Matte Bello (1875-1929) and her Monument \u201cThe War\u201d in The Hague International Court, placed there in the year 1914, immediately before the beginning of the First WorldWar.
\nThe genesis of this monument in the personal and diplomatic Chilean correspondence, shows that, nevertheless the proliferation of the pacifist mouvements led by The International Court, Rebeca Matte, according to his ouwn artistic intuition, anticipates, not the peace, but suffering, destruction and death.<\/p>","protected":false},"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","format":"standard","class_list":["post-611021","tnc_col_610509_item","type-tnc_col_610509_item","status-publish","format-standard","hentry"],"acf":[],"yoast_head":"\n