Wind onshore 11.5 GW dominates the right half of the scene as dozens of tall three-blade turbines with white tubular towers and detailed nacelles stretching across rolling green hills; wind offshore 3.7 GW appears as a distant line of larger turbines on the far-right horizon above a grey sea; solar 13.5 GW occupies the centre-right foreground as vast fields of aluminium-framed crystalline silicon PV panels angled on metal racks, their surfaces dull and unreflective under heavy cloud; brown coal 4.3 GW fills the left portion as two massive hyperbolic concrete cooling towers emitting thick white steam plumes, beside conveyor belts and open-pit terracing; biomass 4.2 GW appears as a cluster of medium industrial facilities with wood-chip silos and modest chimneys with thin grey exhaust, positioned left-of-centre; natural gas 2.5 GW is rendered as a compact CCGT plant with a single tall exhaust stack and smaller heat-recovery unit, placed between the coal and biomass installations; hard coal 1.3 GW shows as a smaller conventional power station with a single square cooling tower and coal bunker to the far left; hydro 1.4 GW appears as a concrete dam and small reservoir visible in a valley in the distant left background. The sky is entirely overcast with heavy, oppressive, low stratiform clouds in shades of slate grey and muted pewter — no blue sky visible — conveying the high electricity price atmosphere. The time is 18:00 in May: the scene is lit by the dim amber-orange glow of a sun already very low on the western horizon, its light diffused and barely penetrating the cloud layer, casting a faintly warm but fading wash across the lower sky while the upper sky darkens toward blue-grey dusk. Spring vegetation: fresh bright-green grass on hills, budding deciduous trees with pale leaves, wildflowers in meadow strips. Wind is moderate — turbine blades show motion blur, grass bends gently, steam plumes drift and shear to the east. Rendered as a highly detailed oil painting in the tradition of 19th-century German Romantic landscape painters such as Caspar David Friedrich and Carl Blechen — rich layered colour, visible impasto brushwork, atmospheric depth and sfumato in the clouds, meticulous engineering detail on every turbine nacelle, every PV panel frame, every cooling tower's parabolic curve. The composition balances industrial sublimity with natural landscape grandeur. No text, no labels, no human figures.