Biomass 4.2 GW dominates the foreground-left as a large wood-chip-fired power station with tall fluted chimneys releasing pale exhaust plumes and conveyor belts carrying woody fuel; offshore wind 3.3 GW appears in the distant right as a row of tall three-blade turbines rising from a grey North Sea horizon, their rotors turning briskly; brown coal 2.7 GW occupies the centre-left background as two massive hyperbolic cooling towers with thick white steam columns and an adjacent open-pit mine edge; hydro 1.8 GW is depicted as a concrete dam with spillway water cascading into a river in the mid-ground right; natural gas 1.1 GW shows as a compact CCGT plant with a single slender exhaust stack and wispy heat shimmer in the centre-right; hard coal 1.1 GW appears as a smaller coal plant with a stockpile and single cooling tower beside the gas unit. Time is 16:00 in mid-April: the scene is fully daylight but heavily muted—a 91% overcast sky of uniform dove-grey stratus blankets everything, diffusing all shadows and casting flat, soft illumination. No direct sunlight penetrates. No solar panels anywhere. The air is mild at 12°C; early-spring vegetation shows fresh pale-green buds on birch and linden trees, with patches of wet grass and dandelions. A moderate breeze bends the young leaves and ripples puddles on an unpaved road. The low electricity price gives the atmosphere a calm, open, unhurried quality—no oppressive haze or tension. Style: highly detailed oil painting in the tradition of 19th-century German Romantic landscape masters such as Caspar David Friedrich and Carl Blechen—rich layered colour, visible confident brushwork, atmospheric depth with receding planes of landscape, meticulous engineering accuracy on every turbine nacelle, cooling tower fluting, conveyor truss, and dam spillway. The composition balances industrial infrastructure with the gentle spring countryside, evoking sublime coexistence. No text, no labels.