The Ascension, a Renaissance painting housed at the Art Institute of Chicago, dates from the late 15th century, between approximately 1490 and 1500. The name of the author still remains a mystery; however, the provenance of the painting is known to be from Picardy, a city in northern France. During the Renaissance, many ideas and ideals changed most of the artistic tastes 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 depiction of biblical passages from the Gospels of Mark and Luke and the Acts of the Apostles which tell the story of 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 who followed closely. In the painting one can appreciate the amount of detail put in by the author to somehow explain what happened, how it happened and who was there. First, the painter painted the scene with Jesus and his disciples outside, in a field generally called the Mount of Olives. In addition, the author carefully depicted 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 on earth. It is imperative to denote the relationship between time and space that the author establishes by painting what appear to be buildings from the Gothic period on the horizon, with the aim of creating an atmosphere similar to that of France. Additionally, the author painted the glory of Jesus accompanied by stylized, gilded corners, which is a somewhat unusual feature in Renaissance paintings. Looking at The Ascension from its contextual perspective and artistic elements, the painting is full of moods and techniques. First, the event itself conveys an exceptional message of hope. The painter well depicted the majesty of Jesus as he physically ascended into heaven by painting a golden halo and purple garments, symbols of holiness and wisdom. On the other hand, the elements used in this painting are the crucial elements that enliven the message depicted. As characteristic of Renaissance paintings, The Ascension features a triangular placement of figures; its lines follow a triangular pattern to the main character: Jesus rising above his disciples. As for the lines which delimit the objects, they can be distinguished or seen (we rather use pigmentation) with the exception of the traces of the glory which emanates from the halo of Jesus..