Wind onshore 18.5 GW dominates the right half of the canvas as vast ranks of three-blade turbines on lattice towers stretching across rolling hills into the distance, rotors spinning in moderate wind; wind offshore 4.5 GW appears as a distant cluster of tall turbines on the far-right horizon above a grey sea sliver; brown coal 8.1 GW occupies the left foreground as massive hyperbolic cooling towers belching thick white-grey steam plumes, flanked by open-pit mine terraces; natural gas 7.6 GW fills the left-centre as a cluster of compact CCGT plants with tall single exhaust stacks venting thin heat shimmer; hard coal 4.8 GW sits behind the gas units as a gritty power station with conveyor belts and a tall brick chimney trailing dark smoke; biomass 4.5 GW appears centre-right as a modest wood-chip-fed plant with a squat cylindrical silo and gentle vapour; hydro 1.3 GW is a small concrete dam with spillway in the centre midground beside a river. No solar panels anywhere. The sky is a dusk scene at 18:00 in March: a narrow band of deep orange-red glow clings to the lower horizon on the left, rapidly giving way to a dark, heavy, fully overcast sky pressing down — no stars, no blue, thick oppressive cloud layer conveying the extreme electricity price. The landscape is early-spring central German terrain: bare deciduous trees just beginning to bud, pale-green grass, muddy fields, temperature around 11°C suggesting damp mild air with mist curling near the ground. Transmission pylons and high-voltage lines cross the middle distance, symbolising the massive import flows. Scattered sodium-orange streetlights glow in a small village nestled between the turbines and the coal plant. Style: highly detailed oil painting in the tradition of 19th-century German Romantic landscape masters — Caspar David Friedrich meets industrial sublime — rich impasto brushwork, dramatic chiaroscuro, atmospheric depth, meticulous engineering detail on every turbine nacelle, cooling tower, and smokestack. No text, no labels.