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An abstract painting in swirls of purple, white and grey. The text “Gerhard Richter” and “November” is laid over the centre of the composition.

Gerhard Richter's gorgeous November series of happy accidents collected in new book

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Date
11 February 2013

There’s always something interesting about artistic processes in which the creative cedes control, and especially so when that creative is a major art world figure like Gerhard Richter. A gorgeous new book presents his November series in its entirety, an intriguing series that came about when he was decanting some black Edding marker-pen ink. Some of it dripped onto nearby paper and he was fascinated by the patterns it made, not just on the top sheet but on those it soaked underneath as well.

Using benzene, acetone and black tushe he started experimenting with thinning his materials and manipulating the colours and patterns, culminating in the production of 54 works, comprising 27 individual sheets with mirror images on both sides. This was back in 2008 and, as he’s prone to doing, Richter put them aside, only revisiting them three years later. Now Heni Publshing has brought them together in this lovely collection, full of beguiling shapes and the quiet colour palette of the images’ namesake month.

An abstract painting in deep indigo and pale blue. Dark, vertical washes of ink bleed into a lighter, swirling pool of colour at the bottom.
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Gerhard Richter: November

An abstract painting in deep indigo and charcoal tones. Swirling, ink-like washes of dark paint create organic shapes against a pale, muted background.
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Gerhard Richter: November

An abstract painting of swirling ink and washes in black, grey and muted purple. The fluid shapes bleed into one another, creating a moody, atmospheric composition.
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Gerhard Richter: November

An abstract painting featuring fluid, bleeding washes of black, grey and pale purple. The dark shapes bloom across the white canvas like ink in water.
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Gerhard Richter: November

An abstract painting featuring washes of muted purple, grey and cream. Dark, ink-like blots and organic shapes bleed into the pale background.
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Gerhard Richter: November

An abstract painting in shades of deep blue, grey and pale yellow. Swirling, ink-like forms create a fluid, organic composition that resembles a stormy sky or a microscopic view.
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Gerhard Richter: November

An abstract painting in swirling shades of purple, white and deep indigo. The text “Gerhard Richter” and “November” is laid over the centre of the composition.
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Gerhard Richter: November

An open book displays an abstract painting across two pages. The left side features soft, pale purple washes, while the right side contains dense, dark ink blots.
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Gerhard Richter: November

A close-up of an open book showing an abstract print with dark, textured shapes and soft pink washes. A handwritten note in pencil reads “16 Nov. 2008” followed by a signature.
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Gerhard Richter: November

An open sketchbook shows a white page with two grey, organic-shaped stains. A faint handwritten date, “24.11.2018”, is visible at the bottom of the page.
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Gerhard Richter: November

An open book displays a row of five abstract, ink-like images in shades of purple and black. The organic shapes are arranged in a horizontal strip across a plain white page.
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Gerhard Richter: November

An open book displays two pages of abstract, watercolour-style imagery. Swirls of pale pink, grey and black ink bleed across the white paper.
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Gerhard Richter: November

An open book shows a full-page print of an abstract painting. Swirls of deep purple, grey and white paint blend together in fluid, organic shapes.
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Gerhard Richter: November

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About the Author

Rob Alderson

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Rob Alderson is a freelance writer, editor and strategist. He was previously editor-in-chief of It’s Nice That and WePresent, and editor of Design Week. He publishes the newsletter Undo, which tries to make sense of how AI is changing design work, the design process and the design industry.

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