Solar 19.0 GW dominates the right half of the scene as vast fields of aluminium-framed crystalline silicon photovoltaic panels stretching across golden-dry farmland, reflecting a still-strong but low-angled sun. Brown coal 7.1 GW occupies the left quarter as a massive lignite power station with three hyperbolic concrete cooling towers emitting heavy white-grey steam plumes rising into the warm sky. Natural gas 4.7 GW appears centre-left as a pair of compact combined-cycle gas turbine plants with tall single exhaust stacks venting thin heat shimmer. Biomass 3.7 GW is rendered as a cluster of smaller industrial buildings with wood-chip silos and short chimneys trailing pale smoke, set just behind the gas plants. Hard coal 2.2 GW shows as a single dark coal-fired station with a conveyor belt and a rectangular stack, positioned at the far left edge. Hydro 1.7 GW appears as a concrete run-of-river dam with white spillwater in the middle distance along a river cutting through the landscape. Wind onshore 1.3 GW is depicted as a small group of three-blade turbines on distant hills, their rotors barely turning. Wind offshore 0.4 GW is suggested by two tiny turbines on a hazy horizon line above a sliver of sea glimpsed far right. The sky at 18:00 Berlin summer time shows the sun low in the west, golden-orange light flooding horizontally across the scene; the upper sky is a warm blue with scattered altocumulus clouds covering roughly half the dome, edges lit amber. The atmosphere is heavy, oppressive, and hazy — reflecting 30.4 °C heat and the high electricity price — with a visible heat shimmer rising from the PV fields and the asphalt of access roads. Vegetation is lush but parched midsummer green, with dry grass along field edges. Style: highly detailed oil painting in the tradition of 19th-century German Romantic landscape painting — rich, saturated colour palette, visible impasto brushwork, deep atmospheric perspective receding toward a distant hazy horizon — yet every piece of energy infrastructure is rendered with meticulous engineering accuracy: turbine nacelles, lattice towers, cooling tower parabolic curves, PV cell grid patterns, CCGT exhaust geometry. The painting feels monumental, like a Caspar David Friedrich scene recast for the industrial Anthropocene. No text, no labels, no people in the foreground.