Mujer en la sala
By María José Monge, Visual Arts Curator, MBCCR
Ana Griselda Hine (1949) is a Costa Rican artist who has stood out in the areas of watercolor and metal engraving. Nevertheless, her health forced her to abandon the latter, after which she focused on the field of watercolor.
Hine has exhibited her work on a regular basis, both individually and collectively, since the 1970s. She has received several awards, such as the gold medal in the “Margarita Bertheau” Watercolor Gallery (1979), the gold medal in the the First “Max Jiménez Huete” Graphic Arts Exhibition (1980) and Honorable Mention in several international competitions, such as the VI Biennial of Latin American Engraving of Puerto Rico (1983), among others.
She has a licentiate degree in Plastic Arts from the Faculty of Fine Arts of the University of Costa Rica (1976) and a Masters in Art, specializing in Engraving from the University of Cincinnati College of Design, Architecture and Art in Cincinnati, Ohio (1983). She participated in the opening of the Engraving Workshop of the School of Plastic Arts of the National University of Costa Rica (1977).
This work ‒originally titled Pacer but commonly known as Mujer en la sala‒ is the last print in a series of 20 metal engravings the artist made as part of her graduation project in the University of Cincinnati.
It is considered a key work in Costa Rican art history due to its technical skill and its unusual approach to the domestic sphere. In terms of technique, this engraving is important due to the fine drawing skills and the masterful use of several metal engraving techniques, an emerging medium in the Costa Rican milieu in the 1980s. Her command of these techniques result in an outstanding ciaroscuro that, together with the ambiguous use of perspective, create an uncanny space where plants and furniture seem to echo the shape of a woman ensconced in the shadows. Her almost inadvertent presence evoke an overwhelming scene of unfathomable tension.
This space is unlike any other, an extension of the woman’s barely visible shape. It is a space that resists neutrality and defines itself from an ambiguous perspective that, clearly claims its individuality.
How to cite this article
Monge Picado María José. (2014). La ensoñación de Rosa. San José, Costa Rica: Fundación Museos del Banco Central. Available at: link