Solar 41.1 GW dominates the scene as an enormous field of crystalline silicon photovoltaic panels stretching across roughly three-quarters of the composition, their aluminium frames gleaming under bright afternoon light; wind onshore 5.1 GW appears as a cluster of three-blade turbines with white lattice towers on gentle green hills at the right edge, blades turning slowly; biomass 3.9 GW is rendered as a modest wood-chip power station with a low rectangular building and single smokestack emitting faint white exhaust in the middle distance; brown coal 1.6 GW shows a pair of smaller hyperbolic cooling towers with thin wisps of steam rising, placed far left; natural gas 1.4 GW appears as a compact CCGT unit with a polished exhaust stack beside the cooling towers; hydro 1.1 GW is suggested by a small weir and turbine house along a river flowing through the foreground. Time is 15:00 in late May: full, bright daylight with a high sun, the sky a hazy white-blue suggesting thin high cloud but strong radiation penetrating through, warm golden tones across the landscape. Temperature 26.6°C: lush late-spring vegetation, full green canopy on deciduous trees, wildflowers in meadow grasses, heat shimmer above the dark PV panels. Light wind bends the tall grass gently. The negative electricity price is reflected in an open, calm, expansive sky with no oppressive weight. Painted in the style of a highly detailed 19th-century German Romantic landscape oil painting—rich impasto brushwork, atmospheric aerial perspective fading to soft blue-green hills on the horizon, the luminous quality of Caspar David Friedrich meets industrial realism. Meticulous engineering accuracy on all technology: visible panel cell grids, turbine nacelle housings, cooling tower parabolic curves, CCGT heat recovery units. No text, no labels.