Although Roberts and Jacobs seem to violate their direction about using a creative artist's surname only after the first reference, in the box "Using the Names of Authors" (Ch. 1), by referring to "Claude's painting" in the discussion of Claude Lorrain's Seaport at Sunset, in reality they don't, since "Lorrain" is not the true surname of this artist. Equivalent instances occur with such artists as El Greco or Leonardo da Vinci, who were known by nicknames or place names appended to forenames.

        A valuable resource on the Internet that enables viewing of many art works in large color reproductions is the "Images" tab on the opening screen of the search engine "www.google.com" (without the quotation marks).  Several color reproductions of Claude's painting are available from this website.

1. (a) What three main components of nature symbolize it in the painting? (b) How do placement and proportion (the amount of space taken up) in the painting emphasize these components?

2. (a) What details on the far left side of the painting emphasize human technology or artefacts, and how? (b) What details on the far right side of the painting emphasize human technology or artefacts, and how? (c) how do 1a-b and 2a-b help convey the themes or ideas explained by Roberts and Jacobs in their analysis of the painting? (d) How do actions, the basis of plot, help convey the painting's themes, as elucidated by Roberts and Jacobs? (e) How does that affiliated component of plot, structure  or organization,  help convey the painting's themes, as elucidated by Roberts and Jacobs?

3. (a) How is the principle of comparison and contrast, parallel or difference, from the items mentioned in questions 1-2 continued in the human figures on the beach? (b) How is the group of three human figures in the far left of the painting partly engaged in friendliness or amity or concord? How is one of the figures not so much engaged in this friendliness, amity, or concord? How is the idea of concord quite literal in this group of figures, with additional implications of perhaps romantic love? In what actions are the figures engaged that suggest these notions? (c) How does the group of three figures immediately next to the figures asked about in 3b suggest the notions of amity or concord? In what actions are various members of the group engaged, which would suggest amity or concord? (d) In contrast to the human figures in the two main groups to the left of the painting, how does the group of two figures in the center of the painting suggest the contrasting idea of conflict or discord? How does their action suggest this notion?