Wind onshore 9.7 GW dominates the right half of the scene as dozens of tall three-blade turbines on lattice towers stretching across rolling farmland; wind offshore 4.8 GW appears in the far-right background as a cluster of turbines rising from a dark sea horizon; biomass 4.7 GW occupies the center-right as a collection of modest industrial plants with wood-chip silos and small chimneys emitting thin white exhaust; brown coal 3.5 GW fills the left quarter as two massive hyperbolic cooling towers releasing dense steam plumes into the night sky, with conveyor belts of lignite visible below; natural gas 3.9 GW sits center-left as a compact CCGT facility with a tall single exhaust stack and illuminated steel piping; hard coal 1.4 GW appears as a smaller conventional power station with a single squat cooling tower beside a coal yard; hydro 1.3 GW is a small run-of-river weir with turbine housing at the bottom-left near a dark river. The time is 20:00 in early April — the sky is completely dark, deep navy-black, no twilight or sky glow whatsoever. All facilities are lit by sodium-orange industrial lighting and white security floodlights, casting warm and cool reflections on wet ground. The atmosphere is heavy and oppressive — thick 95% cloud cover hangs invisibly in the blackness above, suggested only by the absence of stars. Spring vegetation: fresh pale-green grass and budding trees at 13.3°C, barely visible in the artificial light. A light breeze of 6.2 km/h gives the turbine blades slow but steady rotation. No solar panels anywhere — no sunshine. Transmission pylons and high-voltage lines cross the landscape, connecting the facilities. Rendered as a highly detailed oil painting in the tradition of 19th-century German Romantic landscape painters — rich, moody colour palette of deep blues, blacks, warm sodium oranges, and cold industrial whites; visible brushwork with atmospheric depth and chiaroscuro; meticulous engineering detail on every turbine nacelle, cooling tower, and exhaust stack; the grandeur and sublime drama of Caspar David Friedrich applied to a modern industrial nocturne. No text, no labels.