
Every line above is reproduced from the holding institution’s own catalogue entry, which is linked. Where their title, date or attribution differs from ours, theirs is the one printed here.
A scene from Mary's life. It comes from the high altar of the Cistercian abbey at Marienfeld, where, the Gallery says, the open wings showed eight scenes of the Virgin's story and the closed wings the Passion; the Ascension counted as hers. She kneels nearest us in cobalt blue, the only figure with a halo; the beardless youth in green with his arm round her is John.
Christ sits on a black cloud, wounds open, flanked by Old Testament figures who foretold him. Two footprints are pressed into the green rock. The rays are lines cut into the gold.
Sources: National Gallery of Art, Washington, 'The Ascension', accession 1959.9.5, overview text (legacy object page), read 2026-09-01. The page refers on to John Oliver Hand, German Paintings of the Fifteenth through Seventeenth Centuries (1993). · National Gallery of Art, Washington, artist page 'Johann Koerbecke', listing and image description for The Ascension, read 2026-08-31 and 2026-09-01. · National Gallery of Art, Washington, provenance entity 'Cistercian Cloister at Marienfeld, Abbey Church'. · pubhist.com, 'Johann Koerbecke - The ascension', record w19432, quoting the NGA provenance. · Museo Nacional Thyssen-Bornemisza, artist page 'Koerbecke, Johann'. · Artsy, National Gallery of Art partner record, 'The Ascension'.
And when he had said these things, while they looked on, he was raised up: and a cloud received him out of their sight.
Acts 1:9 · Douay-Rheims (Challoner), from the project’s own corpus at data/bible_drc.js
Printed on demand. Public-domain masterwork, reproduced from a 23,378 px master of the original. The whole image is printed — never cropped to fit the sheet — so every sheet carries an archival margin, and the dimensions and resolution listed above are the ones you receive.