Brown coal 6.3 GW dominates the left quarter as four massive hyperbolic cooling towers with thick white-grey steam plumes rising into darkness; onshore wind 6.2 GW spans the centre-left as a long ridge of three-blade turbines on lattice towers turning slowly in light breeze; biomass 4.2 GW appears centre as a cluster of industrial boiler buildings with short stacks and warm amber-lit windows; natural gas 3.8 GW sits centre-right as two compact CCGT units with tall single exhaust stacks emitting thin heat shimmer; hard coal 2.3 GW appears right-centre as a single coal plant with a large chimney and conveyor belt silhouette; solar 2.0 GW shown as a small field of aluminium-framed crystalline silicon panels in the right foreground, dark and reflective, catching only faint artificial light; hydro 1.7 GW as a concrete dam structure at far right with water flowing; offshore wind 0.8 GW as two distant turbines on the far horizon. Time is 20:00 late May in Germany — the sky is fully dark, deep navy-black, no twilight glow remaining, no sunset colours; all illumination comes from sodium streetlights casting orange pools, lit industrial facility windows, aircraft warning lights blinking red atop cooling towers and turbine nacelles. The atmosphere is heavy and oppressive, reflecting the high electricity price — a thick humid haze hangs low, diffusing the artificial lights into halos. Temperature is a warm 22.5°C late spring evening; vegetation is lush, full green deciduous trees with dense leaf canopy, tall grass in foreground. Partial cloud cover (61%) is suggested by patches where stars are obscured. Style: highly detailed oil painting in the tradition of 19th-century German Romantic landscape painters — rich deep colour palette of indigo, burnt orange, and coal-black, visible impasto brushwork, dramatic atmospheric depth and chiaroscuro lighting. Each energy technology rendered with meticulous engineering accuracy: turbine nacelles with three-blade rotors, cooling tower hyperbolic curves with reinforced concrete texture, CCGT exhaust geometry. The scene evokes Caspar David Friedrich's sublime darkness married to industrial realism. No text, no labels.