Wind onshore 5.8 GW dominates the right third of the scene as a deep row of three-blade turbines on lattice towers, their rotors barely turning in nearly still air, set on rolling green hills. Brown coal 3.0 GW occupies the left foreground as two massive hyperbolic cooling towers with faint white steam plumes drifting upward. Biomass 3.9 GW appears as a cluster of mid-sized industrial plant buildings with short chimneys and a warm amber glow from within, positioned left of centre. Hard coal 2.2 GW is a single large power station with a tall rectangular stack and conveyor infrastructure, placed behind the brown coal towers. Wind offshore 2.2 GW is suggested by distant turbines barely visible on a dark horizon line at far right. Natural gas 1.4 GW appears as a compact CCGT unit with a single slender exhaust stack and small heat-recovery structure at centre-left. Hydro 1.2 GW is a modest dam and spillway structure nestled in a valley at far left. The time is 22:00 on a summer night: the sky is completely dark, deep navy-black, with 100% cloud cover obscuring all stars and moon — no twilight glow whatsoever. The only illumination comes from sodium-orange streetlights along an access road, amber security lights on the industrial facilities, and the faint red aviation warning lights atop wind turbines and cooling towers. The atmosphere is heavy, humid, and oppressive, reflecting the high electricity price. Late-summer vegetation is lush and dark green, barely visible in the artificial light. Rendered as a highly detailed oil painting in the tradition of 19th-century German Romantic landscape painters — rich, dark palette dominated by deep blues, blacks, and warm industrial oranges, visible expressive brushwork, dramatic atmospheric depth and chiaroscuro. Each energy technology rendered with meticulous engineering accuracy: turbine nacelles with three-blade rotors, aluminium-framed structures, hyperbolic concrete cooling towers with realistic proportions, CCGT exhaust geometry. The scene evokes the sublime tension of Caspar David Friedrich meeting industrial modernity. No text, no labels.