[7] Miguel Betancourt’s pictorial art is characterized by a figurative representation articulated through the aesthetic principle of the organic and vegetal, expressed via the compositional concept of the phytomorphic.

"[11]Over four decades of continuous work, various recurring themes can be identified in Betancourt’s oeuvre, including the sacred, the urban, the colonial, the calligraphic, the ancestral, and a constant exploration of shrub-like, vegetal, arboreal, and floral elements.

[4] The concept of the sacred in Miguel Betancourt’s work is expressed through the depiction of certain spaces of worship, such as churches and temples, and their architectural details, primarily those of Gothic or colonial style.

This approach demands special attention to light and transparency, leading Betancourt to employ various techniques and materials suited to capturing the luminosity of these spaces.

[3] His interest in Gothic stained glass and transfigured light has been a central element in his work, with watercolor being a particularly suitable technique for rendering these effects.

[13] The reference to the urban in Miguel Betancourt’s work is not limited to the descriptive representation of cityscapes but also serves as a testimony of his experience, particularly in Quito's colonial center.

In this regard, the influence of oriental models is fundamental for the artist, who also employs a variety of papers made from natural fibers, such as rice or bamboo.

"[8]The concept of the ancestral is a significant source of inspiration in Miguel Betancourt’s work, where figurations from Ecuador’s ancient cultures, such as Valdivia, Bahía de Caráquez, and Guangala, occupy a central place.

In many of these pieces, the artist introduces syncretic architectural elements, such as semicircular arches characteristic of Western Gothic styles, which stand as intimate spaces for religious reproduction.

[15] Art Series, 2023[16] The ancestral Indo-American heritage, primarily rooted in the Andean and equinoctial regions of pre-Columbian times, has been a significant source of creative inspiration for Miguel Betancourt throughout his artistic career.

This influence is particularly evident in Cosmogonías de un pintor, a thematic-anthological exhibition showcasing a curated selection of works inspired by pre-Hispanic creative paradigms.

The collection spans over two decades, including both early and recent pieces that adhere to this aesthetic model, while also reflecting the stylistic evolution of the artist's current creative vision.

[18] A prominent example of this tendency is the figure of the Virgin of Legarda, the patroness of Quito, which frequently appears in his works, inspired by the statue atop the El Panecillo hill.

[23] His work can be found in national and international collections: United Nations offices in Vienna and in Geneva (specifically in UNAIDS), Inter-American Development Bank (Tokyo), Diners Club del Ecuador, Istituto Italo-Latino Americano (Rome), Art Museum of the Americas, Organization of American States (Washington D.C.), OFID (the OPEC Fund for International Development), Vienna, the Slade School of Fine Art (London), among others.

Miguel Betancourt resides in Quito, in the Cumbayá area, his birthplace, an Andean and equinoctial valley that continues to profoundly influence his work in connection with the surrounding nature.

Career highlights in the late 2000s include his participation as Guest of Honor to the V. International Art Biennial SIART in La Paz, Bolivia, (2007), and in The Night of the Museums in Buenos Aires, Argentina (2009).

In 2014 he was one of three artists at the "Ecuador in Focus" exhibition held at the OPEC Fund for International Development headquarters in Vienna and became founding member of the Art Résilience movement in Paris.