Brown coal 12.4 GW dominates the left third of the scene as a cluster of massive hyperbolic cooling towers with thick white-grey steam plumes rising into the night sky, their bases glowing orange from furnace light; natural gas 8.8 GW occupies the centre-left as a pair of modern CCGT power stations with tall slender exhaust stacks emitting thin heat shimmer, lit by sodium-yellow industrial floodlights; wind onshore 7.4 GW spans the right third as a scattered line of three-blade turbines on lattice towers along a dark ridge, their red aviation warning lights blinking, blades turning slowly in light breeze; wind offshore 2.0 GW appears as a faint row of turbines on the far-right horizon over a dark sea, marked by tiny red dots; biomass 4.3 GW is rendered as a medium-sized industrial plant with a wood-chip storage dome and a single smokestack with pale exhaust, positioned between the gas plant and the wind turbines; hard coal 3.3 GW appears as a smaller coal-fired station behind the lignite complex, with a single rectangular cooling tower and conveyor belts visible under floodlight; hydro 0.8 GW is suggested by a small illuminated dam structure at the far left edge near a river. The sky is completely black with heavy 100% overcast — no stars, no moon, no twilight glow, only a deep oppressive navy-black blanket of cloud faintly reflecting the orange industrial glow from below. The atmosphere is heavy and humid, mid-autumn with trees bearing thinning dark foliage at 14.6°C. The landscape is a broad German lowland river valley. The elevated price of 205 EUR/MWh is conveyed through a dense, brooding, oppressive atmosphere pressing down on the scene. Style: highly detailed oil painting in the tradition of 19th-century German Romantic landscape painters — rich deep colour palette of blacks, burnt oranges, sulphur yellows, and cool blue-greys — visible impasto brushwork — dramatic chiaroscuro between the dark sky and the artificially lit industrial facilities — meticulous engineering accuracy on turbine nacelles, cooling tower parabolic profiles, CCGT stacks, conveyor systems — the mood of Caspar David Friedrich meeting the industrial sublime. No text, no labels.