Brown coal 7.5 GW dominates the left third of the scene as a cluster of massive hyperbolic cooling towers with thick white-grey steam plumes rising into the black sky, their concrete shells lit from below by orange sodium lamps; natural gas 6.0 GW occupies the centre-left as two compact CCGT power blocks with slender exhaust stacks emitting thin heat shimmer, illuminated by industrial floodlights; hard coal 4.0 GW appears centre-right as a large conventional power station with a single tall smokestack and conveyor belts leading to coal bunkers, glowing under amber security lighting; biomass 4.0 GW is rendered as a mid-sized industrial plant with a rounded dome and wood-chip storage yard in the right-centre; wind onshore 3.0 GW is shown as a small cluster of three-blade turbines on a distant ridge at the far right, their red aviation warning lights blinking faintly, rotors turning slowly; wind offshore 2.4 GW suggested by a handful of turbine silhouettes barely visible on a far dark horizon line at the extreme right; hydro 1.4 GW appears as a small concrete dam spillway at the far lower-right edge. Time is 03:00 — completely dark, deep black sky with full 100% overcast hiding all stars, no moon, no twilight whatsoever, only artificial lighting from the industrial facilities. The air is cool at 5.5°C with faint mist clinging to the ground, spring vegetation barely visible as dark silhouettes of budding trees and damp meadows. The atmosphere is heavy and oppressive, reflecting the high electricity price — low dense clouds press down and catch the orange-yellow industrial glow from below, creating an ominous diffuse ceiling of reflected light. Light wind barely stirs the mist. Painted in the style of a highly detailed 19th-century German Romantic oil painting — rich impasto brushwork, dramatic chiaroscuro between deep shadows and warm industrial light, atmospheric depth receding into hazy darkness, meticulous engineering accuracy on all turbine nacelles, lattice towers, cooling tower geometries, and CCGT exhaust details, evoking Caspar David Friedrich's sublime darkness merged with industrial modernity. No text, no labels.