Solar 32.0 GW dominates the scene as vast fields of aluminium-framed crystalline silicon PV panels stretching across the entire centre and right of the composition, their glass surfaces reflecting a uniform white-grey sky; wind onshore 5.2 GW appears as a modest cluster of three-blade turbines on a ridge at the right edge, blades turning slowly in light wind; biomass 3.6 GW is rendered as a compact wood-chip power station with a tall exhaust stack and small steam plume at the centre-left; brown coal 3.1 GW occupies the far left as two hyperbolic cooling towers with lazy white steam columns rising into the overcast; natural gas 1.5 GW appears as a single compact CCGT unit with a slender exhaust stack just beside the cooling towers; hydro 1.5 GW is suggested by a small dam and spillway in the middle distance. The sky is entirely overcast with thick, layered stratus clouds at 100% coverage, but the scene is fully lit with the bright, diffuse, shadowless daylight of a 3 PM late-spring afternoon — no direct sun visible, yet the landscape is luminous and pale. The air is warm at 23°C; vegetation is lush late-May green with full deciduous canopies, wildflowers, and tall grass. The atmosphere is calm and serene, reflecting the zero electricity price — no oppressive weight, just tranquil equilibrium. Highly detailed oil painting in the tradition of 19th-century German Romantic landscape painters — Caspar David Friedrich meets industrial realism — rich colour, visible brushwork, atmospheric depth, meticulous engineering detail on every turbine nacelle, every PV module frame, every cooling tower's parabolic curve. No text, no labels.