The Ascension, a Renaissance painting at the Art Institute of Chicago, dates to the late 15th century, approximately 1490 to 1500 AD. The author's name is still a mystery; however, it is known that the painting's provenance is from Picardy, a city in the northern region of France. During the Renaissance period, many ideas and ideals changed much of the artistic taste of writers, sculptors, painters and philosophers. Ascension is no exception. Like most artistic expressions of the Renaissance, this painting suggests a religious theme. The Ascension is the representation of the biblical passages in the Gospels of Mark and Luke and the Acts of the Apostles which tells how Jesus was taken up to heaven in the presence of his eleven remaining disciples: Judas Iscariot was no longer a disciple of Jesus -and others besides him they followed closely. In the painting you can appreciate the amount of details put by the author to explain what happened, how it happened and who was there. First, the painter painted the scene with Jesus and his disciples out in the field, which is mostly called the Mount of Olives. Additionally, the author carefully portrayed the faces of men and women, making people aware of the presence of Mary Magdalene and other women who played an important role in Jesus' message while on earth. It is necessary to denote the relationship between time and space that the author creates by painting on the horizon what appear to be buildings from the Gothic period, with the intention of creating an atmosphere similar to the French one. Furthermore, the author painted the glory of Jesus accompanied by stylized and gilded corners, a somewhat unusual feature in Renaissance paintings. Looking at the Ascension from its contextual perspective and its artistic elements, the painting is full of moods and techniques. First, the event itself contains an exceptional message of hope. The painter did a good job depicting the majesty of Jesus as he physically ascends to heaven by painting a golden halo and purple robe, symbols of holiness and wisdom. On the other hand, the elements used in this painting are the crucial features that enliven the message depicted. As is characteristic of Renaissance paintings, The Ascension features the triangular arrangement of the figures; its lines follow a triangular pattern towards the main figure: Jesus rising above his disciples. As for the lines outlining the objects, they can be distinguished or seen (pigmentation is used instead) with the exception of traces of the glory emanating from Jesus' halo.