罗伊•利希滕斯坦（Roy Lichtenstein）的艺术最具识别度的是其标志性的大圆点（Benday dots）和二维平面，漫画般的质感，这些使他处于美国流行艺术界的最前沿。利希滕斯坦高度重视美国的消费文化，其风格很适合海报这个类型。本书的开头展示了他最早的海报，该海报是为1962年在利奥•卡斯特利（Leo Castelli）画廊的**次展览而设计的，书的结尾展示了他去世那年完成的最后一幅作品。另一部分以克劳斯•冯•奥尔登（Claus von Olden）系列的复制品为特色，包括海报和传单，这些海报和传单是使用利希滕斯坦的标志性图案在世界各地制作的。这些作品反映了利希滕斯坦的丰富想象力和使他的视野适应音乐和电影节的宣传，戏剧表演，博物馆，饭店，公共服务信息以及自己展览的能力。此次展览的策展人尤尔根•多林（Jurgen Doring）撰写的一篇文章阐述了利希滕斯坦（Lichtenstein）作为一位模糊了庸俗艺术和高雅艺术界限的艺术家的发展历程。该书还包括这位艺术家的一篇带插图传记。

Roy Lichtenstein’s masterful Pop Art posters from 1962 to 1997 are showcased in this collection of 68 full-color reproductions.

Lichtenstein’s art is most recognizable for its trademark benday dots and two-dimensional planes, cartoonlike qualities that placed him at the forefront of the American Pop Art scene. With its emphasis on consumer culture, Lichtenstein’s style lent itself easily to the poster genre. This volume opens with his earliest poster, designed for his first exhibition at Leo Castelli Gallery in 1962, and closes with his last, which he completed the year of his death. An additional section features reproductions from the Claus von Olden collection and includes posters and flyers that were produced all over the world using Lichtenstein’s iconic motifs. The works reflect Lichtenstein’s prolific imagination and ability to adapt his vision to the promotion of music and film festivals, theatrical performances, museums, restaurants, and public service messages as well as his own exhibitions. An essay discusses Lichtenstein’s development as an artist who blurred the boundaries between lowbrow and highbrow art.