Solar 32.9 GW dominates the scene as vast fields of aluminium-framed crystalline silicon PV panels stretching across the entire foreground and middle ground, covering more than half the canvas; onshore wind 16.3 GW fills the right third and recedes into the distance as dozens of three-blade turbines on tall lattice and tubular towers, blades turning steadily in moderate wind; offshore wind 2.1 GW appears as a faint cluster of turbines on the far-right horizon above a grey sea; biomass 3.6 GW is rendered as a modest wood-chip power station with a tall stack and thin pale exhaust plume at left-centre; brown coal 2.1 GW occupies the far left as two hyperbolic cooling towers with wispy white steam rising; natural gas 1.4 GW sits beside them as a compact CCGT facility with a single slender exhaust stack; hydro 1.3 GW appears as a small concrete dam and spillway nestled in a green valley at the left edge; hard coal 0.4 GW is a barely visible small stack in the deep background, nearly dormant. The sky is entirely overcast with a uniform blanket of pale grey-white stratiform clouds — full daylight at 4 PM in July, bright but completely diffuse, no shadows, no direct sun visible, the light even and pearlescent. The landscape is lush midsummer green — thick grass, full-leafed deciduous trees, wildflowers — at a mild 18°C. The atmosphere is calm and open, reflecting a slightly negative electricity price: no oppressive heaviness, just quiet luminous stillness. Rendered as a highly detailed oil painting in the tradition of 19th-century German Romantic landscape masters such as Caspar David Friedrich and Carl Blechen — rich layered colour, visible confident brushwork, atmospheric aerial perspective fading into misty distance, meticulous engineering detail on every turbine nacelle, every PV cell grid, every cooling tower's parabolic curve. No text, no labels, no people in the foreground.