“Magda Bolumar, a disciple of the laureate Rafael Estrany, has not only managed to assimilate the chromatic energy of warm tones, but has also been able to capture the harmony of the masses, of the volumes, and, above all, it has been done with a clear concept of the composition to be presented, working with quick, fluid and confident brushstrokes, achieving a mastery of light that some painters exhibiting elsewhere would themselves like to have.”
PIC (excerpt from the text published for the solo exhibition at Mataró Museum, 1956)
“When in front of her works, we feel the strange fascination of a small device capable of unleashing a storm. The disproportion between the poorness of the material and the transcendence of the emotion makes us aware of the fact that, through the work’s limitedness, a hidden immensity speaks to us, and that is why we would be tempted to call this class of abundantly moving work ‘magical’. But we do not believe in magic, so all we need to know is that Magda has had the talent and genius to find an extremely direct path to penetrate our thoughts and feelings, with all the unsuspecting simplicity of major discoveries.”
Alexandre Cirici Pellicer (excerpt from the text Magda Bolumar Chertó. Nuevos caminos. Published for the exhibition at the Galería Kira in Palma de Mallorca, 1962)
“Magda Bolumar has done something simpler and purer than anyone has ever done before. Letting the fabric speak for itself, not only with great logic of the material, without forcing it or making it Baroque, but also with great imagination.”
Alexandre Cirici Pellicer (excerpt from the text published for the exhibition at the Sala Gaspar gallery in Barcelona, 1970)
“Magda Bolumar’s sackcloths achieve a fusion of primitive feeling, with its strong calling, and the fine Oriental flavour of the quintessential work that only a very select number of people are invited to taste.”
Modesto Rodríguez (excerpt from the text published in the magazine Europa for the exhibition at the Sala Gaspar gallery in Barcelona, 1970)
“Magda Bolumar has the magical power of taking us to that other kind of world, one made from glass, silk and silver thread, like the iridescent membranes of soap bubbles caught by black spiders’ webs, and it gives us the opportunity to gaze at our real world from afar, to capture its filth and its lameness, and to measure the distance between fragility and weakness.”
Alexandre Cirici Pellicer (excerpt from the text published for the exhibition at Caixa Laietana in Barcelona, 1982)
“Magda Bolumar is not an artist who follows trends; she is a genuine creator of landscapes between lyrical abstraction and figuration. She is abstract with memories, as were Klee and Miró or, indeed, Kandinsky in his Sky Blue. Those who labelled her Informalist and considered her merely as “Moisès Villèlia’s wife, and an artist too”, were just not up to the measure of their job.
Juan Bufill (excerpt from the text “Esplèndida Magda Bolumar”. Published in La Vanguardia for the exhibition “Magda Bolumar: Papers from the ’60s and ’70s” at the Marc Domènech gallery in Barcelona, 2019)
“A feature of Magda Bolumar’s latest sackcloths is that they display a new sensitivity, a product of life experience, and they allow the onlooker to see the personal pleasure experienced by the artist, who was able to escape from Villèlia’s shadow and shine in her own right.”
Laura Lucas Palacios and María Teresa Alario Trigueros (excerpt from the text Magda Bolumar: la biografía de una artista del siglo XX presented at the Art and Gender congress, 2019)