Miguel begins his art career in 1964 with life drawing lessons at the Peña Academy in Madrid. In 1965 he enrolls at the Royal Academy of Fine Arts of San Fernando; during this time he studies under Antonio López with whom he will have a life long friendship.

In 1965 he is selected to represent young Spanish artists in an exhibition of realist painting in Tokyo, Japan. In 1965 and 1966 he is awarded first prize nationally in both painting and drawing. Miguel decides to pursue his art career on his own, leaving school in 1968.

For the next three years he lives and works in Galicia, Spain, in Stockholm, Sweden and settles down in London, England.

He participates in important group exhibitions at the Marlborough Gallery in London where Francis Bacon chooses him as best of show.

While living in London he paints every day for 9 months on the oil painting, “Crysanthemums in London”. This painting earns him the prestigious March Foundation Scholarship and is invited by the University of California in Santa Cruz to teach painting, drawing and sculpture. He lives in California until 1983, traveling to Mexico and Galicia as well.

After California he moves to New York City where he sets up a studio in Tribeca. This new location provides him the perfect situation for creating not only some of his most beautiful flower paintings but also the more experimental Red Figures on Black Mirrors series also known as the New York Series.

During his time in New York he participates in important exhibitions in Spain and London. His work becomes part of important European and American art collections. In 1993 Miguel decides to pursue a different route as an artist. He is intent on painting the light of the desert in the South Western United States. To do this he orders a custom made camper to accomodate his enormous canvases. It is a small 4×4 diesel truck with only the essential elements to live in for extended periods of time but with enough space for his art materials.

He lives outdoors, camping and traveling between Texas and Arizona for a period of 8 years. During this time he paints 10 large format landscapes which include the “Ghost Town Cemetery”, the “Kanab Plateau” and the “Grand Canyon After the Storm”.

Completely devoted to his work, Miguel decides to stay away from the demands of comercial art circuits and galleries. Throughout his career he develops a technique in which he slowly builds the painting by overlapping layers of transparent glazes achieving an exceptional tonal quality and emotional strength in every painting.

Miguel passed away in the year 2005 leaving an impressive body of work which has an important place in the context of modern Spanish realism.