Brown coal 8.7 GW dominates the left third of the scene as a cluster of massive hyperbolic cooling towers with thick white-grey steam plumes rising into darkness; natural gas 8.5 GW fills the centre-left as a row of compact CCGT power blocks with tall single exhaust stacks emitting thin heat shimmer; hard coal 4.4 GW appears centre-right as a squat industrial complex with rectangular boiler houses, conveyor belts, and a single wide smokestack; wind onshore 8.3 GW stretches across the right third as dozens of three-blade turbines on lattice and tubular towers arrayed along a low ridge, rotors turning at moderate speed; wind offshore 2.1 GW is suggested by a distant line of turbines on a far horizon beyond a dark estuary; biomass 4.1 GW appears as a mid-ground wood-chip-fired plant with a modest stack and warm amber glow from facility lighting; hydro 1.5 GW is a small dam structure in the lower-right foreground with water shimmering under artificial light. Time is 1 AM — the sky is completely black, no twilight, no moon visible, dense 100% overcast erasing all stars, an oppressive heavy atmosphere reflecting the high electricity price. Illumination comes only from sodium-orange streetlights along access roads, white LED floodlights on the power plants, glowing red aviation warning lights atop wind turbines and smokestacks, and the furnace glow leaking from boiler house windows. Early spring vegetation — bare branches with the faintest suggestion of new buds, damp green grass, puddles on asphalt reflecting orange light. Temperature around 8°C conveyed by mist hugging the ground and condensation on metal surfaces. Style: highly detailed oil painting in the tradition of 19th-century German Romantic landscape painters — rich deep colour palette of indigo, amber, slate, and charcoal, visible confident brushwork, atmospheric depth with layers of industrial haze, meticulous engineering accuracy on every turbine nacelle, cooling tower fluting, CCGT exhaust detail, and coal conveyor structure. The painting evokes Caspar David Friedrich's sublime darkness merged with industrial realism. No text, no labels.