Brown coal 11.5 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, lit from below by sodium-orange industrial floodlights; natural gas 7.4 GW fills the centre-left as three compact CCGT power blocks with tall single exhaust stacks emitting thin heat shimmer, bathed in harsh white security lighting; biomass 4.0 GW appears centre-right as a medium-sized wood-chip-fired plant with a rectangular stack and conveyor belts under amber work lights; wind offshore 4.0 GW is rendered in the far right background as a row of tall three-blade turbines standing on dark North Sea waters, their red aviation warning lights blinking; wind onshore 1.9 GW appears as a small group of lattice-towered turbines on a low ridge behind the coal plant, slowly turning; hydro 0.7 GW is suggested by a small dam structure with spillway gleaming faintly at the far right edge. The sky is completely dark — deep navy to black, no twilight, no sky glow — with a scattering of cold stars visible through 15% cloud wisps. Autumn vegetation: bare-branching oaks and yellowed grass in the foreground, temperature around 12°C suggested by light mist hugging the ground. The atmosphere is heavy and oppressive, haze from the cooling towers diffusing the industrial lights into a brooding, smoky pall that weighs on the landscape. Painted in the style of a monumental 19th-century German Romantic oil painting — rich impasto brushwork, deep chiaroscuro contrasts, atmospheric sfumato in the steam plumes — yet every engineering detail is meticulous: three-blade rotor profiles, aluminium nacelle housings, reinforced-concrete cooling tower shells with condensation rivulets, steel CCGT exhaust cowlings. No text, no labels, no human figures.