Brown coal 7.7 GW dominates the left quarter as a cluster of massive hyperbolic cooling towers with thick white-grey steam plumes rising into the blackness, lit from below by amber sodium lights; natural gas 6.1 GW fills the centre-left as compact CCGT plants with tall single exhaust stacks emitting thin heated plumes, illuminated by industrial floodlights; hard coal 4.2 GW appears centre-right as a smaller coal-fired station with a single rectangular stack and conveyor belts, glowing under harsh white work lights; onshore wind 14.5 GW spans the entire right third and extends into the background as dozens of tall three-blade turbines on lattice and tubular towers, their red aviation warning lights blinking in rhythmic patterns against the pure black sky, blades visibly turning in moderate wind; biomass 4.5 GW is rendered as a mid-ground industrial facility with a wood-chip silo and a modest smokestack emitting pale vapour; hydro 1.4 GW appears as a small dam structure in the far background with water catching faint reflected light; offshore wind 0.6 GW is a barely visible pair of turbines on the distant horizon. The sky is completely dark, deep navy-black, no stars visible due to 100% cloud cover creating an oppressive low ceiling that traps and diffuses the industrial light into a sickly orange-amber haze. The landscape is a flat northern German plain with fresh spring grass barely visible in the artificial light, temperature around 8°C suggested by faint mist near the ground. The atmosphere feels heavy and costly, the overcast pressing down. No solar panels anywhere, no sunlight. Highly detailed oil painting in the tradition of 19th-century German Romantic landscape painters — rich, dark colour palette of deep indigos, burnt umbers, and amber golds, visible impasto brushwork, atmospheric depth with industrial light scattering through low clouds. Each technology rendered with meticulous engineering accuracy: turbine nacelles, three-blade rotors, cooling tower parabolic profiles, CCGT exhaust geometries. The scene evokes Caspar David Friedrich reimagined for the industrial age — sublime, vast, and quietly imposing. No text, no labels.