Wind onshore 22.6 GW dominates the right two-fifths of the scene as vast ranks of three-blade turbines with white tubular towers and nacelles stretching across rolling green hills into atmospheric haze, rotors visibly turning in moderate wind. Solar 24.4 GW fills the centre-right foreground and middle ground as enormous fields of aluminium-framed crystalline silicon photovoltaic panels angled southward, glinting brilliantly under direct sunlight. Wind offshore 5.0 GW appears in the far background-right as a line of tall turbines rising from a distant flat horizon suggesting the North Sea. Biomass 4.0 GW occupies the centre-left as a cluster of medium-scale industrial facilities with wood-chip silos and modest steam stacks. Brown coal 3.6 GW sits on the far left as two large hyperbolic cooling towers emitting thin wisps of steam, dwarfed by the renewable installations. Natural gas 3.5 GW appears left-of-centre as a compact CCGT plant with a single tall exhaust stack and low-profile turbine halls. Hard coal 1.9 GW is a small darker power station partially behind the brown coal complex with a single square cooling tower. Hydro 1.2 GW is suggested by a small dam and spillway in a valley at the far left edge. The sky is almost completely clear with only the faintest trace of high cirrus — brilliant, expansive, luminous mid-afternoon March daylight at 15:00 CET casting sharp shadows. The atmosphere is calm, open, and spacious, reflecting the rock-bottom electricity price. Early spring vegetation: fields showing fresh green shoots, bare deciduous trees with the first hints of budding, temperature around 12°C suggesting light jackets on any tiny human figures. Painted in the style of a highly detailed 19th-century German Romantic oil painting — rich warm golden daylight tones, visible impasto brushwork, atmospheric perspective fading to pale blue at the horizon — yet with meticulous engineering accuracy on every turbine nacelle, every PV cell grid line, every cooling tower's hyperbolic curvature and concrete texture. The composition evokes Caspar David Friedrich's sense of sublime scale, with the renewable infrastructure replacing mountains as symbols of overwhelming natural-industrial grandeur. No text, no labels.