GUIDO STELLA – 1971: “…the painting of Migliorati receives, assimilates, transforms, sublimes the existential datum. It gives a formal, unmistakable valence. " Open diary", offered to the comparison, to the critic, the art of Luciano Migliorati is the autobiography of a man of our time; that he has accepted of living in our time, with suffered and serene dignity, with daily courage.”

LUCIANO SPIAZZI – 1971: “…Migliorati constructs a synthetic, geometric and also transparent background paintings. He doesn’t make an unskilled impressionism, he operates in a mental space where the idea is composed dowel after dowel and where the tonal glazings soak the surface with the variegation of the musical passages…”

ELVIRA CASSA SALVI “Giornale di Brescia”- 1983: “ Luciano Migliorati is refining his landscaped lines, with a vaguely twentieth-century structure, from which he started since more than a decade. The module of the geometric squaring is softened from the game of the light, of the airframes that are overlapped like diaphanous glasses. We can appreciate the delicate tonality, now opalescent, now amber-coloured, and a twilight atmosphere that Migliorati is searching..”

GIULIO GASPAROTTI – 1984: “…The evolution reached through a personal style and through the possibility of a broad judgment on human facts complete the analysis of the painting which has been developed in the same silence which encircles the portrayed figure, the analysis has been carried out mentally, and perhaps suffered, in the course of the painter’s personal existence.”

GRAZIA A. TADOLINI “Leadership medica”- 1985 – exhibition in “Galleria Arno”di Firenze: “ … There is the rebellion, unconscious and unexpected of an artist who has to his shoulders an extended experience of suffering and that he learned the silence and contemplation, when he wished to dip himself in the life. At times, Migliorati goes in search of one new serenity, through the revocations of an ancient world and half-disappeared, than it appears to him better than the actual world: it lives again with the simplicity of personages and atmospheres of the country periphery.”

SERGIO BOTTA “Arte in Galleria” insert of “Bresciaoggi” – 1993: “The "light" of Migliorati penetrates, it increases the frontiers of the described landscape, synthetizing the light in a participation that is wince, heartbeat and also strength, astonishment and rapture…”

ORFANGO CAMPIGLI – 1995: “The artist, Luciano Migliorati, lives with love in the talk with the Nature and in her atmospheres to breathe the scent, the beauty, the mystery.”

MAURO CORRADINI – 1995: “… And however, too long, to be fortuitous, it appears a bare tree: element of landscape and symbolic place for excellence, the bare tree seems to want to enclose, with its exiles fingers sunk in the blue, the deep contradictions of the time that we are going through.”

ANGELO LIPPO – 1996: “Intimist painter, lover in the first place of the landscape, engaged also on figurative compositions and on social engagement. Migliorati is an artist who has followed his road, an hermit path, but he is careful to pick the fertile humour of one high tradition: the tradition of the Italian 1900's.”

LUIGI SALVETTI – 1997: “…The tree emerges between all, as an acronym. Years after years it is a skeletal presence a little alarming, a little admonitory, always loaded with soft sadness, married with autumnal mists or with the white pages of the snowfall. Recently these trees have dressed with shining foliages but not to belittle the solitary presence, but in order to emphasize, in contrast, the silence that always impend over the paintings of Migliorati. A silence that was tinged, in the last compositions, with a certain fluttering mystery…”

EZIO MAGLIA “Arte e Artisti” de “La Provincia” - ottobre 2001: “ Migliorati, through a geometric framing and careful syntheses, explores the inexhaustible resources of the nature not contaminated to bring her back to a mood, to an intense and evocative image…”  

AGOSTINO GARDA – 2002: “…So long as his works, even if they are made of silence, even if dense of mystery, even if deprived of human figures, they succeed to speak to us, to reveal to us a forgotten truth, to reach an humanism that it must make peace with itself and with the nature.”

SIMONE FAPPANI – 2003: “…We can breath a sense of deep serenity, nearly ancestral or primitive marriage with the nature, when we are watching carefully his compositions, in which often the time seems, in a certain sense, to arrest itself, as to emphasize the eternity of a moment picked from the instinct, from the inspiration of the painter.”