Wind onshore 9.9 GW dominates the right half of the scene as dozens of tall three-blade turbines on lattice towers spread across rolling hills, their red aviation warning lights blinking in the darkness; brown coal 6.5 GW occupies the left quarter as three massive hyperbolic cooling towers emitting thick pale steam plumes lit from below by sodium-orange industrial lighting; natural gas 5.1 GW appears centre-left as a compact CCGT plant with two tall exhaust stacks releasing thin transparent heat shimmer, lit by white floodlights on the facility grounds; hard coal 4.8 GW sits just left of centre as a large coal-fired station with rectangular boiler house and a single tall chimney trailing a faint plume, illuminated by amber security lights; biomass 3.6 GW is rendered as a mid-sized industrial plant with a wood-chip silo and small smokestack near the centre-right; hydro 1.3 GW appears as a concrete dam structure in the far background with spillway water faintly catching reflected light; wind offshore 1.1 GW is suggested by a distant row of turbines on the far-right horizon near a dark coastline. Time is 04:00 in August — the sky is completely black, deep navy at most, with no twilight or sky glow whatsoever; stars are faintly visible through only 12% cloud cover; a waning crescent moon casts negligible light. The atmosphere feels heavy and oppressive despite the clear sky, reflecting the 153 EUR/MWh price — a warm humid summer night haze hangs low, sodium streetlights along a road in the foreground cast orange pools on lush green summer grass and leafy trees barely visible in the darkness. Temperature is mild at 14.8°C, with gentle breeze shown by slowly turning turbine blades. Painted in the style of a highly detailed 19th-century German Romantic oil painting — rich impasto brushwork, dramatic chiaroscuro between the industrial glow and the vast dark sky, atmospheric depth receding into haze, meticulous engineering detail on every turbine nacelle, cooling tower ribbing, and exhaust stack, evoking Caspar David Friedrich's sublime darkness merged with precise industrial realism. No text, no labels.