This painter, traditionally held to be of Moravian origin, first appeared in Eger in 1753. At the close of his novice year he took monastic vows and entered the nursing order of St. John Pious in Eger. We have no exact data on his origin, date or place of birth. Nor do we even we know where and when he learnt painting. On the basis of the works made in the first known year of his operation (1753), he must be considered a learned, mature painter. From that time on, he worked in and around Eger until his death in 1760.

In the seven short years of his monastic painter's activity Hutter painted close to hundred pictures. His patrons were mostly Eger's bishop and members of the prebendal body. In 1753 he decorated the wainscot in the refectory of the Eger Brothers of Mercy with a New Testament series of thirty-nine painted wooden panels. Between 1754 and 1758 he painted altarpieces for the Franciscans, the Servites and the Brothers of Mercy in Eger. We also know his altarpieces in the village churches of Felnémet and Erdőtelek. According to a canonica visitatio, Brother Lucas painted the whole church at Verpelét. Following several smaller jobs, in 1758 he finished painting the interior of Miklós Androvics's house in Eger, the so-called small provost's mansion. Until 1760 he consistently painted different works for the monastery of the Brothers of Mercy, including window panes for the cells and the pharmacy, as well as small pictures of worship, miniatures on parchment, and whatever the order needed.

Brother Lucas Huetter of Mercy was a characteristic representative of Rococo painting in Hungary, having gained his professional knowledge from a master educated at the Vienna Academy, or in the studio of such a master. In his paintings we can recognize the painting style and tools made popular in the first third of the l8th century mostly by Paul Troger and his pupils. He often used the works of great European masters, made known by means of copper engravings, for the prototypes of his works. Though his paintings do not stand out from those of the masters in contemporary Hungary whose talents and training were mediocre at best, there are elements of narratives and landscapes showing a Dutch influence, executed in a great detail manner, mixed into his painting style (which otherwise followed Viennese patterns). This shows a measure of individuality worth noting.