Solar 23.1 GW dominates the right half of the scene as vast fields of aluminium-framed crystalline silicon photovoltaic panels stretching across flat farmland toward the horizon, their surfaces reflecting a diffuse milky-white sky; wind onshore 14.2 GW fills the centre-right as dozens of three-blade turbines on tall lattice and tubular towers arrayed across gentle rolling hills, blades turning slowly in a light breeze; wind offshore 6.1 GW appears in the far background as a line of turbines standing in a hazy sea visible through a gap in the terrain; brown coal 3.7 GW occupies the left foreground as a cluster of massive hyperbolic cooling towers with thin wisps of steam drifting from their rims, beside a conveyor belt feeding dark lignite into a boiler house; biomass 4.0 GW appears as a compact wood-chip-fed power station with a modest smokestack and steaming exhaust just left of centre; natural gas 2.1 GW is rendered as a single combined-cycle gas turbine plant with a streamlined exhaust stack and visible heat shimmer, positioned between the biomass plant and the coal complex; hard coal 1.5 GW is a smaller conventional plant with a tall red-and-white striped chimney tucked behind the brown coal towers; hydro 1.2 GW appears as a small run-of-river weir with a concrete powerhouse along a river in the lower-left corner. The time is 16:00 in late March: full daylight but heavily overcast with a nearly unbroken 98% cloud ceiling of pale grey stratiform cloud, yet patches of thinning cloud allow diffused sunlight to brighten sections of the solar fields with a soft luminous glow. Early spring vegetation — bare deciduous trees just beginning to bud, fresh green grass emerging on brown fields, 9°C cool air with no frost. The atmosphere is calm, open, tranquil — reflecting the near-zero electricity price — with expansive sky and gentle horizontal composition. Painted in the style of a highly detailed 19th-century German Romantic oil painting, rich in atmospheric depth and visible impasto brushwork, reminiscent of Caspar David Friedrich merged with industrial realism — meticulous engineering accuracy in every turbine nacelle, panel frame, and cooling tower, yet suffused with the luminous, contemplative mood of a Romantic landscape masterwork. No text, no labels.