Brown coal 10.2 GW dominates the left third of the canvas as a vast complex of hyperbolic cooling towers emitting thick white-grey steam plumes, lit from below by orange sodium lamps; wind onshore 6.6 GW and wind offshore 2.3 GW together occupy the right third as rows of three-blade turbines on lattice towers stretching across rolling green hills and a distant dark sea, rotors turning slowly in light wind; biomass 4.1 GW appears as a cluster of mid-sized industrial plants with smoldering chimneys in the centre-left middle ground; hard coal 2.6 GW is rendered as a darkened power station with twin stacks and a glowing coal conveyor behind the biomass facility; natural gas 2.3 GW fills the centre-right as two compact CCGT units with single tall exhaust stacks venting thin heat shimmer; hydro 1.5 GW appears as a small dam and spillway in the far right background, water catching faint reflected light. The sky is completely dark — deep navy to black, no twilight, no sunset glow — it is 21:00 in late May. An 81% overcast layer of clouds is faintly visible only where industrial light catches them from below, creating an oppressive low ceiling. No stars penetrate. The atmosphere feels heavy and pressured, reflecting a 165 EUR/MWh price. Spring vegetation — lush green grass, leafed-out deciduous trees — is barely visible in pools of amber sodium streetlight. The overall tone is brooding industrial nocturne. Highly detailed oil painting in the tradition of 19th-century German Romantic landscape painters such as Caspar David Friedrich crossed with Adolph Menzel's industrial realism: rich colour, visible impasto brushwork, atmospheric depth, dramatic chiaroscuro. Each energy technology rendered with meticulous engineering accuracy — turbine nacelles, three-blade rotors, hyperbolic concrete cooling tower geometry, aluminium CCGT housings. No text, no labels.