卡通漫畫獨有的形式向來具有吸引人的視覺魅力，藝術家羅伊‧李奇登斯坦（Roy Lichtenstein, 1923-1997）注意到了這種來自商業藝術形式的視覺元素，並且將之融入到高級藝術的領域當中，為藝術扭轉了一個新的可能發展方向，為藝術贏得了一批新的觀眾。而連環漫畫形式也帶給李奇登斯坦一些靈感去探討有關於形式簡化的種種可能與其視覺效果，經由這樣的創作與實驗，李奇登斯坦發揚了「簡化」的美學風格。他的風格以漫畫形式元素貫串，以對形式與構圖間關係的實驗為依歸，在形式美學上對現代主義的領域作了再次的開發與探索，並且也為高級藝術注入一股新的活血，提供一個具有嶄新視覺吸引力的出路。

以往對於李奇登斯坦連環畫藝術的解讀，大部分都著眼於以形式主義的角度來為其藝術作出定位。這類言論以李奇登斯坦的作品是否對圖像來源進行了轉化（transformation）修改，作為它是否稱得上藝術的依據，並且以形式主義對於形式構圖的高度關注，讚揚李奇登斯坦在這方面的卓越貢獻。然而這樣的形式主義觀點卻排擠了對於李奇登斯坦作品以其他詮釋角度的可能。再者，由於普普藝術的不言深度，使得多數藝評家對於包括李奇登斯坦在內的普普藝術家之作品也傾向簡單化詮釋。然而過度簡化詮釋的結果，我們將無法深刻理解這個讓藝術史扭轉方向的藝術運動，是如何地讓藝術產生關鍵性的質變。

本研究以李奇登斯坦一九六一年到一九六五年的作品為主，除了對於這段時期作品的風格分析之外，也將對李奇登斯坦的成名經歷與當時藝壇變化作一番剖析，並且試圖從圖像中找尋藝術家創作時的個人意識與畫作的絃外之音，為李奇登斯坦的藝術作品探尋更多可供深入研究的面向。

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