Solar 32.7 GW dominates the centre and right of the canvas as vast rolling fields of aluminium-framed crystalline silicon PV panels stretching toward a hazy horizon, their blue-grey surfaces reflecting diffused midday light under a heavy 97%-overcast sky; wind onshore 18.6 GW fills the upper-left and mid-ground as dozens of tall three-blade turbines on lattice and tubular towers, rotors turning briskly in moderate wind, scattered across green June farmland and low hills; wind offshore 3.6 GW appears in the far-left distance as a cluster of turbines standing in a grey North Sea glimpsed through a gap between hills; biomass 3.6 GW is rendered as a mid-sized timber-clad power station with a modest stack emitting thin white vapour, set among stacked woodchip stores in the left mid-ground; brown coal 3.2 GW occupies the far left as two hyperbolic cooling towers with faint wisps of steam rising lazily, a conveyor belt of dark lignite visible at their base; natural gas 1.8 GW appears as a compact CCGT plant with a single tall exhaust stack and minimal exhaust plume, tucked beside the coal station; hydro 1.7 GW is shown as a small concrete dam with water cascading into a green valley in the lower-left foreground; hard coal 1.0 GW is a single smaller stack with a thin grey plume beside the brown coal towers. The sky is a luminous pearl-grey blanket of stratus with no blue visible, yet bright enough to illuminate the entire scene in flat, even midday light — early June, lush green vegetation, wildflowers in meadow edges, temperature mild at 17°C. The atmosphere is calm and expansive, reflecting a near-zero electricity price. Painted in the style of a highly detailed 19th-century German Romantic oil painting — rich impasto brushwork, atmospheric depth and aerial perspective, meticulous engineering detail on every turbine nacelle, every PV cell grid line, every cooling tower's parabolic curve — yet suffused with the grandeur and emotional scale of Caspar David Friedrich meeting industrial modernity. No text, no labels.