Peace symbolism is a pervasive theme throughout the history of art. Many scholars agree the theme of peace symbolism ended in the 19th century when changes in the client-artist relationship and the elimination of allegories in the broadest sense led to a revision of certain images and presentation methods. The reappearance of peace signs in the mid-20th century, however, alongside the dawn of the nuclear age and its associated military conflicts, questions any thought of an endpoint in the history of peace symbolism. At this juncture, peace symbolism transcended its traditional boundaries in art and became an integral part of everyday life. As a result, the study of peace symbolism now includes a discourse on modern social, religious, and political issues, and thus offers an insight into the value of artistic creation and the sustainability of traditional motifs in a contemporary context. This essay analyzes within a contemporary context the theme of peace symbolism in the 20th century visual art of Douglas Strachan, Pablo Picasso, Gerald Holtom, Aldo Capitini, and Gilbert Baker. Douglas Strachan used allegorical features in designing the stained-glass windows of the Peace Palace in The Hague; Pablo Picasso referred to one of the oldest peace symbols, the dove, by making it the centrepiece in his posters announcing the World Peace Conferences. Combining protesters strategies with a new born peace symbol, Gerald Holtom inspired Aldo Capitini as well as Gilbert Baker in their attempt to promote world peace by waiving the rainbow flag. Each artist was able to utilize traditional imagery, but in a contemporary setting, to transform peace symbolism into a representation of a better world.