Onshore wind 6.4 GW dominates the right third of the scene as a long ridge of three-blade turbines with white tubular towers and nacelles, blades turning slowly in moderate wind. Brown coal 4.1 GW occupies the left foreground as a cluster of massive hyperbolic cooling towers emitting thick pale steam plumes into the dark sky, flanked by a lignite conveyor belt and boiler house. Biomass 4.5 GW appears just left of centre as a series of squat industrial biogas facilities with cylindrical digesters, small exhaust stacks, and warm amber-lit windows. Natural gas 3.7 GW sits centre-right as two compact CCGT blocks with tall single exhaust stacks venting thin transparent heat shimmer. Hard coal 1.9 GW is a smaller power station behind the brown coal complex, with a single rectangular stack and coal yard. Hydro 1.5 GW is rendered as a concrete dam structure in the middle distance with illuminated spillway. Solar 1.7 GW appears as a modest field of aluminium-framed crystalline silicon panels in the centre foreground, panels dark and reflectionless under the overcast night. Wind offshore 0.4 GW is barely visible as a faint row of tiny turbine silhouettes on the far horizon. The time is 20:00 in late May — the sky is completely dark, deep navy-black, no twilight glow remaining, 100% cloud cover so no stars visible. The atmosphere is heavy and oppressive, reflecting high electricity prices. Sodium streetlights cast orange pools along an industrial road in the foreground. The warm 23°C air is suggested by lush full green deciduous trees and tall grass swaying gently. The landscape is a flat North German industrial plain. Rendered as a highly detailed oil painting in the tradition of 19th-century German Romantic landscape painters — rich, dark colour palette of navy, umber, ochre, and industrial orange; visible confident brushwork; atmospheric depth with haze around cooling tower plumes; meticulous engineering detail on every turbine nacelle, every cooling tower's hyperboloid curvature, every gas stack's steel cladding. The painting has the grandeur and emotional weight of a Caspar David Friedrich nocturne transposed to the industrial age. No text, no labels.