After the almost random color structures created with the squeegee, Richter began to use glass as image carrier for paintings characterized by controlled chance in 2008. The hard surface of the glass, which does not absorb the paint but lets it flow to find its shape, supports the element of coincidence and at the same time - through the manual transfer print on paper, which can be carried out only once - the alienating element of his art. This way Richter reduces the influence of artistic calculation to a minimum. Only the starting point of each composition is defined by Richter's precise color composition and distribution on the glass surface, the rest is left to the flow properties of the color on the smooth surface. By transferring the glass plate onto paper, the resulting color structure is not only secured for good, but also vice versa, the back is also declared the front and the different streaks of color get a homogeneous, smooth surface from the pressure of the glass, which - even after the glass has been removed - lets them appear strangely distant. The present work is one of the earliest of these experimental and fascinating works on paper created in the course of 2008, and which would be fundamental for the reverse glass paintings Richter began to make the same year. In the serial reverse glass paintings, Richter also declares the luminous, abstract color structures, which are the result of his masterly staged calculated coincidence, the protagonists of his fascinating compositions. For this impressive result, Richter first lets the paint flow onto a Plexiglas support and later intervenes in this accidental process of image formation by using brushes, small rods and spatulas. Finally, Richter transfers the desired section of the resulting composition onto the glass plate using a perfected copying process, which ultimately preserves these marbled color structures. [JS]