Lukas Suppin (originally with k) was the second-born of four sons of the school director Georg Suppin, who, on the one hand, placed great emphasis on discipline and order, but on the other hand was able to inspire his son at an early age for painting, music, literature and archaeology. Consequently, Lukas Suppin's drawing talent was encouraged early on. From 1931 to 1933 he attended the School of Applied Arts in Vienna, and from 1933 to 1937 he studied at the Vienna Academy of Fine Arts under Wilhelm Dachauer. Suppin was a soldier throughout the Second World War, but was able to work artistically. From 1945 to 1950 he took part in exhibitions at the Salzburg Art Association. In 1948 Suppin was accepted into the Vienna Secession. In 1950 Suppin left Austrian figurative expressionism and went to Marseille. For him, the step marked the beginning of a search for ever new forms of expression - and the change in the spelling of his name. In Marseilles he met Moise Kisling, who introduced him to Picasso's circle of artists and maintained close contact with the école de Paris. In 1953 he moved to Saint-Paul-de-Vence, where he quickly integrated into the artistic scene. He gradually left figuration and turned to informal art and abstraction. Friendships and joint exhibitions with Atlan, Chagall, Fautrier, Léger, Picasso, Prévert, and Tzara led him to pure color, to line, to impulse. For family reasons, Suppin returned to Salzburg in 1967, where he settled at Freisaal Castle. In the 1970s he turned to material images, which made him a pioneer of the Austrian avant-garde. Suppin worked with earth, sand, rocks, precious metals and textiles. At the beginning of the 1980s there was another sudden break because he saw the danger that the material could gain control over the creative spirit. Initially, Suppin took his cue from Pollock and Tápies. Peter Handke became an important companion and close friend, in whose film “Das Mal des Todes” Suppin's apartment and one of his pictures play a role. The work of the last decade of his life shows a hegemony of radiant colouurs, influenced by the light of the Algerian Sahara.