Brown coal 9.5 GW occupies the left quarter as a cluster of massive hyperbolic cooling towers with thick white steam plumes rising into the night sky, lit from below by orange sodium lamps; natural gas 10.0 GW fills the centre-left as a row of compact CCGT plants with tall single exhaust stacks emitting thin heat shimmer, illuminated by harsh industrial floodlights; hard coal 6.0 GW appears centre-right as a blocky power station with conveyor belts and a large chimney stack glowing faintly red at its tip; wind onshore 8.5 GW spans the right third as a line of tall three-blade turbines on lattice towers slowly rotating on a low ridge, their red aviation warning lights blinking against the darkness; wind offshore 2.1 GW is suggested by distant turbine lights on the far-right horizon; biomass 4.6 GW appears as a modest wood-chip fired plant with a squat smokestack and warm amber-lit loading bay nestled between the coal and wind sections; hydro 1.2 GW is a small dam structure with floodlit spillway visible in the far background. The sky is completely dark — deep navy-black, no twilight, no glow on the horizon — with a thick 93% overcast ceiling of clouds faintly reflecting the orange industrial light from below. The temperature is a cool 10°C spring evening: bare early-spring trees with tiny new buds, damp grass, puddles reflecting sodium light. The atmosphere feels heavy and oppressive, matching the high electricity price — low clouds press down on the industrial landscape. A network of high-voltage transmission pylons stretches across the entire scene carrying thick cables, symbolising the heavy import flows. Rendered as a highly detailed oil painting in the tradition of 19th-century German Romantic landscape painters — rich, dark colour palette of burnt sienna, Prussian blue, lamp black, and cadmium orange; visible impasto brushwork; deep atmospheric perspective with industrial haze; meticulous engineering detail on every turbine nacelle, cooling tower ribbing, and steel girder. The painting evokes Caspar David Friedrich's sublime darkness merged with Adolph Menzel's industrial precision. No text, no labels.