Brown coal 9.4 GW occupies the left third of the scene as a cluster of massive hyperbolic cooling towers with billowing white-grey steam plumes lit from below by orange sodium lamps; natural gas 10.5 GW fills the centre-left as a row of compact CCGT power blocks with tall single exhaust stacks venting thin heat shimmer against the darkness; hard coal 4.4 GW appears centre-right as a smaller coal-fired station with a rectangular boiler house, conveyor belt, and a single wide stack trailing darker smoke; biomass 4.4 GW sits at the right-centre as a mid-sized plant with a domed fuel silo and a modest chimney emitting pale vapour; onshore wind 3.3 GW appears on the far right as a small group of three-blade turbines on lattice towers, blades barely turning in the light breeze; hydro 1.6 GW is suggested by a concrete dam with spillway faintly visible in the distant right background. The sky is completely black to deep navy — it is midnight, no twilight, no sky glow, only stars faintly visible through the steam. All illumination comes from artificial sources: amber sodium streetlights lining an access road, white floodlights on the gas plant, red aviation warning lights atop stacks and turbine nacelles. The air feels cool and still — early spring with bare-branched trees just beginning to bud along a riverbank in the foreground, the water reflecting the industrial orange glow. The atmosphere is heavy and oppressive, hinting at the high electricity price — a thick, humid haze sits low across the scene, diffusing the artificial lights into halos. Highly detailed oil painting in the tradition of 19th-century German Romantic landscape painters such as Caspar David Friedrich — rich colour contrasts between deep shadow and warm industrial light, visible impasto brushwork, atmospheric depth and chiaroscuro — yet with meticulous engineering accuracy in every cooling tower curve, turbine nacelle, and exhaust stack. No text, no labels.