Jupp Lückeroth started his artistic work in 1951 after some private tuition with Prof. Köster mainly as an autodidact.
In his first paintings (since 1956) he applied the "frottage-technique". Its aesthetics of surface appeares to be vulnerable and sensitive, a fact may remind us of Jupp Lückeroth`s long period of captivity as P.O.W. in Russia.
Out of a biographic view the frottage -structure of Lückeroth`s painting strengthens during the mid-fifties, as can be seen from paintings like "Orgelblasen" or "Karneval in Köln", which are prominent works of that time. At the summit of the contemporary art of painting (informal and tachism) in the second half of the fifties Lückeroth begins his structural drawing and structural painting.The painter draws his compositoric repertoir from this fund comparable to a perpetual "school of observing" (according to Max Buchartz).
Each ot his paintings , gouaches and scriptographs means a step forward on the stairs of his training of observation. Again and again, like annual rings of grown tree, they lay around the thematic core of seeing and understanding nature. Shapes and lines of nature, isolated like from magic moments of movement and direction, reveal themselves in structured graphic tension and colour.Lückeroth forms the exact observation of a process of the finest materials in his paintings into great gestures. The examination and analysis of structures within the unstructured is moderated only at the beginning of the sixties with the reduction to the range of metal colours, in a way the conceptional aspect of his oevre.
Lückeroths gouaches are the smallest but clearly comprehensible insight into the analysis of observing nature. On a higher level of his work they are "scriptual compositions". Detached from the object they disclose themselves in parallel company, in encounter and repulsion.
They reveal the sense and effect of repetition and stringing together, of direction and changing direction, of dividing ...
Like his contemporaries Hans Platschek, Emil Schumacher und Gerhard Hoehme, Lückeroth saw a way out of the broadly discussed conflict between abstraction and concreteness in the tendency to materializing colours and rhythmatizing his drawing lines. Up to his old age Lückeroth followed this way, which was sometimes broadened by some borderline experience within nature.
„My paintings exceeds informal painting mainly in my wave paintings, because specially in the representation of waves we reach the starting point of depicting a flowing and also curved period of time ...“ (Jupp Lückeroth)
Works in museums and collections:
Kölnisches Stadtmuseum, Köln
Märkisches Museum, Witten
Städtisches Museum, Sindelfingen
Städtische Galerie Villa Zanders, Bergisch Gladbach
Works in public ownership: