Wind onshore 21.5 GW dominates the scene as vast ranks of three-blade turbines with white tubular towers and aerodynamic nacelles stretching across rolling hills from the centre to the right, their rotors spinning briskly in moderate wind; wind offshore 6.2 GW appears as a distant row of taller turbines on the far-right horizon above a dark sea; brown coal 7.1 GW occupies the left foreground as a massive lignite power station with three hyperbolic cooling towers emitting thick white steam plumes into the black sky; hard coal 4.7 GW sits beside it as a rectangular industrial block with tall brick smokestacks trailing grey exhaust; natural gas 4.9 GW appears as a compact CCGT facility with gleaming steel exhaust stacks and a single smaller cooling tower, positioned centre-left; biomass 4.0 GW is rendered as a modest wood-chip-fuelled plant with a squat chimney and timber storage yard, tucked behind the gas facility; hydro 1.6 GW is a small concrete dam and spillway visible in a valley at the far left edge. The time is midnight — the sky is completely black with scattered cold stars, no twilight, no sky glow; the only illumination comes from harsh sodium-orange industrial lighting on the power stations, red aviation warning lights on the turbine nacelles, and faint amber windows of a distant village. The temperature is near freezing — patches of frost glint on the grass, bare deciduous trees with no leaves stand in silhouette, and breath-like mist clings to low ground. The atmosphere feels heavy and oppressive despite the clear sky, reflecting the high electricity price — a brooding, almost suffocating industrial weight pressing down. No solar panels visible anywhere. Painted in the style of a highly detailed 19th-century German Romantic oil painting — rich impasto brushwork, dramatic chiaroscuro between the glowing industrial complexes and the surrounding blackness, atmospheric depth receding into the distant offshore wind farm, meticulous engineering detail on every turbine blade, cooling tower curve, and exhaust stack. The painting evokes Caspar David Friedrich's sense of sublime scale but applied to an industrial midnight landscape. No text, no labels.