Brown coal 6.3 GW dominates the left quarter as three massive hyperbolic cooling towers with thick white steam plumes rising into blackness; natural gas 4.8 GW occupies the centre-left as two compact CCGT power blocks with tall single exhaust stacks emitting thin flue gas, lit by sodium-orange floodlights; hard coal 3.1 GW appears centre-right as a single large conventional power station with a broad chimney and conveyor belt silhouette; wind onshore 7.7 GW spans the entire right third and background as dozens of three-blade turbines on lattice and tubular towers, their red aviation warning lights blinking in the dark; wind offshore 1.2 GW is suggested by a distant cluster of turbines on a far horizon line over a dark plain; biomass 4.1 GW appears as a mid-sized industrial facility with a wood-chip storage dome and a modest smokestack glowing warmly; hydro 1.2 GW is rendered as a small dam structure with illuminated spillway at the far left edge. The sky is completely black with heavy 100% overcast — no stars, no moon, no twilight — a sealed dark canopy pressing down with an oppressive, heavy atmosphere reflecting the high electricity price. The temperature is a cold 4.1°C in mid-May: sparse early-spring foliage on deciduous trees, some bare branches still visible, frost glinting on grass in foreground. A moderate wind of 13.9 km/h animates the turbine blades in gentle rotation and pushes the cooling tower steam plumes to the right. The entire scene is lit only by artificial light — amber and white industrial floodlights, red warning beacons, the orange glow of sodium streetlamps along an access road. No solar panels anywhere. Highly detailed oil painting in the tradition of 19th-century German Romantic landscape painters — rich, dark colour palette of deep navy, charcoal, amber, and warm ochre — visible impasto brushwork, atmospheric depth with layers of industrial haze, meticulous engineering detail on every turbine nacelle, cooling tower shell, and exhaust stack. The composition evokes Caspar David Friedrich's sublime darkness married to precise industrial realism. No text, no labels.